CATALOGUE 

OF  THE 

George  C.  Cooper  Bequest 


CATALOGUE 

OF  A  COLLECTION  OF 

ENGRAVINGS  and  ETCHINGS 

FORMED  BY  THE  LATE 

GEORGE  CAMPBELL  COOPER 

AND    PRESENTED  BY  HIM  TO  THE 

COOPER.   UNION  MUSEUM 

For  the  Arts  of  Decoration 


COMPILED  BY 

Fitz  Roy  Carrington 


NEW  YORK 
1897 


"In  this  matter  I  will,  with  the  help  of  God,  set 
forth  the  little  which  I  have  learnt,  though  it  will  seem 
but  a  poor  thing  to  many.  But  this  does  not  trouble  me, 
for  I  know  well  that  it  is  easier  to  find  fault  with  a  thing 
than  to  make  something  better" 

Albert  DOrer. 


In  this  Catalogue  the  aim  has  been  to  compile  a  handbook 
that  will  be  of  practical  utility  to  students  of  the  works  of  the 
great  line-engravers  and  etchers  ;  and,  though  connoisseurs  may 
note  the  omission  of  some  interesting  facts,  both  in  the  biograph- 
ical notes  and  in  the  descriptions  of  the  various  "  states  "  of  prints, 
the  general  student  will,  I  hope,  find  the  notes  and  the  descriptions 
sufficiently  detailed  for  his  needs. 

I  must  acknowledge  my  indebtedness,  in  many  ways,  to  the 
Catalogue  of  the  Gray  Collection  of  Engravings,  by  Dr.  Louis 
Thies,  and  to  "  Bryan's  Dictionary  of  Painters  and  Engravers."  In 
general,  the  titles  of  catalogues  or  monographs  dealing  with  any 
special  artist  or  his  work  will  be  found  mentioned  under  the  name 
of  such  artist. 

The  prints  forming  the  present  collection  are  not  numbered, 
in  any  way,  as  it  is  to  be  hoped  that  new  prints  may  be  added, 
from  time  to  time. 

New  York  has,  hitherto,  been  far  behind  the  larger  European 
cities,  inasmuch  as  here  there  has  been  no  good  public  collection 
of  engravings  and  etchings  available  to  the  student. 

Is  it  not  time  that  this  condition  of  affairs  should  be  bettered  ? 
For  the  price  of  a  single  masterpiece  in  painting,  there  could  be 
purchased  a  sufficient  number  of  fine  prints,  by  the  great  masters, 
to  form,  together  with  the  prints  herein  catalogued,  a  collection 
which  might,  justly,  be  a  source  of  pride  to  all  citizens  of  New 
York,  and  which  would,  certainly,  be  of  real  service  to  all  students 
of  the  Fine  Arts. 

Fitz  Roy  Carrington. 


George  Campbell  Cooper  was  born  August  16,  1840,  in  the 
city  of  New  York,  where  he  died  January  29,  1895.  He  was 
the  son  of  William  Cooper,  the  brother  and  associate  in  busi- 
ness of  Peter  Cooper,  the  founder  of  the  Cooper  Union.  He 
graduated  from  the  College  of  the  City  of  New  York,  was 
admitted  to  the  practice  of  law,  and  engaged  in  the  business  of 
his  family,  which  he  diligently  pursued  until  he  was  disabled 
by  ill  health.  At  this  period  of  his  life  he  commenced  to  form 
the  interesting  and  valuable  collection  of  engravings  included  in 
this  catalogue.  He  presented  the  collection  to  the  Cooper  Union 
in  the  hope  that  it  might  be  an  aid  to  the  cultivation  of  art, 
in  which  he  felt  very  deep  interest.  It  is  proper  to  add  that 
his  surviving  brother,  Mr.  Charles  W.  Cooper,  and  his  sister,  Miss 
Julia  Cooper,  have  contributed  one  hundred  thousand  dollars  to 
the  Endowment  Fund  of  the  Cooper  Union  in  memory  of  his 
gentle  and  generous  character. 


Index  to  Names  of  Artists,  Chronologically  Arranged. 


PAGE 

Mantegna,  Andrea   1431-1506  13 

Schongauer,  Martin   1445-1499  14 

Diirer,  Albert   1471-1528  15 

Burgmair,  Hans   1473-1559?  29 

Raimondi,  Marc  Antonio   1485-1530?  29 

De'Musi,  Agostino  (Veneziano)   1490-1540?  34 

Lucas  van  Leyden   1494-1533  34 

Marco  Dente  da  Ravenna   1496-1527  ?  37 

Bonasone,  Giulio   1500-1580?  37 

Beham,  Hans  Sebald   1500-1550  38 

Beham,  Barthel   1502-1540  39 

Aldegrever,  Heinrich   1502-1560  40 

Cort,  Cornells   1 536—1 578  41 

Wierix,  Jan   1549    41 

Sadeler,  Johan   1550-1600  42 

Wierix,  Hieronymus   1551-1619  42 

Alberti,  Cherubino   1552-1615  43 

Wierix,  Anthonie   1555    43 

Caracci,  Agostino   1557-1601  43 

Ghisi,  Diana   1557-1590?  45 

Goltzius,  Hendrik   1558-1615  46 

Caracci,  Annibale   1 560-1 609  47 

Muller,  Jan   1570    47 

Matham,  Jacob   1571-1631  48 

Galle,  Cornelis   1576— 1656  48 

Vorsterman,  Lucas   1578-1660  49 

Swanenburch,  Willem  van   1580-1612  49 

Goudt,  Hendrik  van   1585-1630  50 

De  Passe,  Crispin   1585-1660?  50 

Bolswert,  Schelte  a   1586-1659  51 

Lasne,  Michel   1596-1667  51 

Van  Dyck,  Antoni   1599-1641  52 

Claude  Gellee  de  Lorraine   1600-1682  56 


6 


Mellan,  Claude   1601-1688  59 

De  Jode,  Pieter  (The  Younger)   1606    60 

Hollar,  Wenceslaus   1607-1677  61 

Rembrandt  Harmensz  van  Rijn   1607-1669  62 

Delia  Bella,  Stefano  ,   1610-1664  82 

Suyderhoef,  Jonas   1613-1669  82 

Testa,  Pietro   1617-1650  83 

Waterloo,  Antoni   1618-1679  83 

Swanevelt,  Herman  van   1620-1690  84 

Visscher,  Cornelis  \  l6/°  I'^f  I  85 

'                                                            (  1629  ?-i67o  ?  J 

Berghem,  Nicholas   1624-1683  86 

Nanteuil,  Robert  ,   1630-1678  87 

Dujardin,  Karel   1635-1678  88 

Ruysdael,  Jacob   1635-1681  88 

Visscher,  Jan   1636-1693?  89 

Masson,  Antoine   1636-1700  89 

Edelinck,  Gerard   1640-1707  90 

Drevet,  Pierre   1663-1738  92 

Picart,  Bernard   I^73-i733  93 

Chereau,  Francois   1680-1729  93 

Canaletto,  Antonio   1697-1768  93 

Drevet,  Pierre  Imbert   1697-1739  94 

Jackson,  John  Baptist   1701-1755  ?  96 

Wagner,  Joseph   1 706-1 780  96 

Schmidt,  Georg  Friedrich   1712-1775  97 

Smith  of  Chichester   1714-1776  98 

Wille,  Johann  Georg   1717-1808  99 

Balechou,  Jean  Joseph   1719-1764  100 

Bartolozzi,  Francesco   1727-1815  101 

Weirotter,  Franz  Edmund   1730-1771  106 

Zucchi,  Guiseppe   1730?   107 

Torond,  F   1730?   107 

Woollett,  William   I735-I785  io7 

Vitalba,  Giovanni   1740-1791  ?  109 

Noble,  George   1740?   109 

Birchall,  T   1740?   109 

Kauffman,  Angelica   1741-1807  no 

Del&tre,  Jean  Marie   1 745-1 840  no 

Sharp,  William   1749-1824  111 

Marcuard,  Robert  Samuel   1751-1792  113 

Dighton,  Robert   1752-1814  113 

Stubbs,  George  Townley   1756-1815  114 


7 


PAGE 

Bartsch,  Adam                                                      1757-1821  114 

Tomkins,  Peltro  William                                         1760-1840  114 

Fontana,  Pietro  ^63-1837  115 

Schiavonetti,  Louis                                                 1765-1810  115 

Ward,  William                                                        1766-1826  116 

Audouin,  Pierre                                                      1768-1822  116 

Frey,  Jan  Pieter  van                                                1 770-1834  117 

Wattier,  Emile                                                      1 800-1 868  117 

Pannier,  Jacques  Etienne                                        1802-1869  117 


Index  to  Names  of  Artists,  Alphabetically  Arranged* 


PAGE 

Agostino,  Veneziano   34 

Alberti,  Cherubino   43 

Aldegrever,  Heinrich   40 

Audouin,  Pierre   116 

Balechou,  Jean  Joseph   100 

Bartolozzi,  Francesco   101 

Bartsch,  Adam   114 

Beham,  Barthel   39 

Beham,  Hans  Sebald   38 

Berghem,  Nicholas   86 

Birchall,  T   109 

Bolswert,  Schelte  a   51 

Bonasone,  Giulio   37 

Burgmair,  Hans   29 

Canaletto,  Antonio   93 

Caracci,  Agostino   43 

Caracci,  Annibale   47 

Chereau,  Francois   93 

Claude  Gellee  de  Lorraine   56 

Cort,  Cornells   41 

De  Jode,  Pieter  (The  Younger)   60 

De'Musi,  Agostino  (Veneziano)   34 

De  Passe,  Crispin   50 

Delatre,  Jean  Marie   111 

Delia  Bella,  Stefano   82 

Dente,  Marco,  da  Ravenna   37 

Dighton,  Robert   113 

Drevet,  Pierre   92 

Drevet,  Pierre  Imbert   94 

Dujardin,  Karel   88 

Dtirer,  Albert   15 

Dyck,  Antoni  van   52 

Edelinck,  Gerard   90 

Fontana,  Pietro   115 


9 


PAGE 

Frey,  Jan  Pieter  van   117 

Galle,  Cornelis   48 

Gellee,  Claude,  de  Lorraine   56 

Ghisi,  Diana   45 

Goltzius,  Hendrik   46 

Goudt,  Hendrik  van   50 

Hollar,  Wenceslaus   61 

Jackson,  John  Baptist   96 

Jode,  Pieter  de  (The  Younger)   60 

Kauffman,  Angelica   no 

Lasne,  Michel   51 

Lucas  van  Leyden   34 

Mantegna,  Andrea   13 

Marco  Dente  da  Ravenna   37 

Marc  Antonio  Raimondi   29 

Marcuard,  Robert  Samuel   113 

Masson,  Antoine   89 

Matham,  Jacob...,   48 

Mellan,  Claude   59 

Muller,  Jan   47 

Nanteuil,  Robert   87 

Noble,  George   109 

Pannier,  Jacques  Etienne   117 

Passe,  Crispin  De   50 

Picart,  Bernard   93 

Rembrandt  Harmensz  van  Rijn   62 

Raimondi,  Marc  Antonio   29 

Ruysdael,  Jacob   88 

Sadeler,  Johan   42 

Schiavonetti,  Louis   115 

Schmidt,  Georg  Friedrich   97 

Schongauer,  Martin   14 

Sharp,  William   111 

Smith  of  Chichester   98 

Stubbs,  George  Townley   114 

Suyderhoef,  Jonas   82 

Swanenburch,  Willem  van   49 

Swanevelt,  Herman  van   84 

Testa,  Pietro   83 

Tomkins,  Peltro  William   114 

Torond,  F   107 

Van  Dyck,  Antoni   52 

Veneziano,  Agostino  De'Musi   34 


IO 


PAGE 

Visscher,  Cornelis   85 

Visscher,  Jan   89 

Vitalba,  Giovanni   109 

Vorsterman,  Lucas   49 

Wagner,  Joseph   96 

Ward,  William   116 

Waterloo,  Antoni   83 

Wattier,  Emile   117 

Weirotter,  Franz  Edmund   106 

Wierix,  Anthonie   43 

Wierix,  Hieronymus   42 

Wierix,  Jan  , , .   41 

Wille,  Johann  Georg   99 

Woollett,  William   107 

Zucchi,  Guiseppe   107 


Index  to  Names  of  Etchers  of  the  Nineteenth  Century, 
Alphabetically  Arranged. 


PAGE 

Appian,  Adolphe   121 

Bracquemond,  Felix   122 

Buhot,  Felix   123 

Detaille,  Edouard   124 

Gilli,  Maso   124 

Gravesande,  Charles  Storm  van's   125 

Haden,  Francis  Seymour   127 

Hardy,  Heywood   130 

Jacque,  Charles   130 

Jacquemart,  Jules   131 

Jongkind,  Johann  Barthold   133 

Lalanne,  Maxime   134 

Law,  David   135 

Le  Rat,  Paul   135 

Marvy,  Louis   136 

Menpes,  Mortimer  L   136 

Meryon,  Charles   136 

Montbard,  George   139 

Monzies,  Louis   139 

Robinson,  C.  F   140 

Veyrassat,  Jacques  Jules   140 


Note  on  Collectors*  Stamps  and  Marks. 


For  centuries,  it  has  been  the  custom  of  some  eminent  collectors 
to  put  a  distinctive  mark  upon  the  backs  of  such  prints  as  they 
considered  worthy  to  form  a  part  of  their  several  collections. 

When  the  mark  of  some  renowned  collector  is  found  on  a  print, 
it  is  always  considered  a  certificate  of  high  quality.  In  the  older 
prints,  the  highest  endorsement  is  the  name  of  "  Pierre  Mariette," 
written,  with  the  date  ranging  from  1660  to  17 10. 

"  Pierre  Mariette  was  an  eminent  collector  and  dealer  about 
the  middle  of  the  seventeenth  century.  He  was  accustomed,  when- 
ever he  happened  to  become  possessed  of  an  impression  of  more 
than  ordinary  beauty,  to  write  his  name  at  full  length,  and  a  date, 
on  the  print ;  and  although  this  is  certainly  a  disfigurement,  yet 
such  is  Pierre  Mariette's  reputation  for  judgment,  that  to  be 
thus  disfigured  is  no  disparagement  to  a  print,  but  the  contrary." 
(J.  Maberly,  "The  Print  Collector,"  New  York  Edition,  pp.  83-84.) 

The  famous  collection  of  Pierre  Mariette  was  continued  and 
enlarged  by  his  son  Jean,  and  grandson  Pierre  Jean  Mariette,  and 
was  at  the  time  of  the  death  of  the  last  named,  in  1774,  undoubtedly 
the  most  exquisite  collection  ever  possessed  by  a  private  individual. 

LOUIS  FAGAN,  "COLLECTORS'  MARKS." 
J.  MABERLY,  "THE  PRINT  COLLECTOR." 


MANTEGNA,  ANDREA.    [Italian  School,  1431-1506.] 


Born  at  Padua  in  1431. 

Died  at  Mantua  the  15th  of  September,  1506. 

His  parents  were  humble  folk,  and  consented  to  his  adoption 
in  1441  by  Francesco  Squarcione,  who  taught  him  the  rudiments 
of  art  and  made  him  his  heir. 

The  talent  of  Mantegna  showed  itself  at  an  early  age,  and  by 
1456  his  renown  was  such  that  liberal  overtures  were  made  to  him 
by  the  Marquis  Lodovico  Gonzaga  to  induce  him  to  remove  to 
Mantua,  which  he  accordingly  did,  as  soon  as  the  work  he  was  then 
engaged  upon  was  finished  ;  and  having  removed  his  family,  settled 
in  that  city.  In  1468  Mantegna  was  knighted  by  the  Marquis 
Francesco  Gonzaga  and  sent  by  him  to  Rome. 

In  1484  he  was  desired  by  Pope  Innocent  VIII.  to  decorate  the 
Belvedere  Chapel,  and  it  was  probably  at  this  time  that  Mantegna 
first  saw  the  engraved  work  of  Baccio  Baldini  (who,  in  his  turn, 
had  learned  the  art  from  Finiguerra),  and  began,  also,  to  engrave 
his  own  designs. 

Mantegna  was  one  of  the  earliest,  if  not  the  first,  engraver  in 
Northern  Italy,  and  contributed  more  than  any  of  his  contempo- 
raries to  the  perfection  to  which  the  art  of  engraving  was  carried 
later,  by  his  superiority  in  design,  for  the  beauty  of  which  his 
works  are  justly  famous.  There  are  numerous  copies,  or  counter- 
feits, of  his  engravings,  but  none  approach  the  originals  in  beauty. 
His  plates  are  usually  executed  in  single  strokes,  without  cross- 
hatchings,  or  crossed  lines,  and  in  a  manner  resembling  pen 
drawings  of  that  time. 

ADAM  BARTSCH,  '«  LE  PEINTRE  GRAVEUR,"  Vol.  XIII.,  pp.  222-243. 

The  Entombment. 

Bartsch,  No.  2. 

Soldiers  Bearing  Trophies. 

Bartsch,  No.  14. 


A  Combat  of  Tritons. 

Bartsch,  No.  17. 

A  Bacchanal. 

Bartsch,  No.  19. 

SCHONGAUER,  MARTIN.    [German  School,  1445-1499.] 

Born  about  1445  at  Colmar. 

Died  at  his  native  city,  February  2,  1499. 

His  first  master  was  his  father,  Caspar  Schongauer,  whose 
trade  was  that  of  a  goldsmith.  At  an  early  age  Martin  visited 
Flanders,  and  studied  there  under  Roger  van  der  Weyden,  the 
elder,  whose  influence  can  be  seen  in  his  earlier  paintings,  and  did 
not  return  to  Colmar  until  about  1465.  His  earliest  plates  date 
from  about  this  time,  when  he  probably  became  free  of  his  craft. 
During  his  lifetime  Martin  Schongauer  enjoyed  a  great  reputation 
among  his  contemporaries,  who  called  him  "  Hipsch  Martin,"  i.  en 
"  Martin  the  Beautiful." 

That  he  was  so  called  on  account  of  the  beauty  of  his  work 
and  not,  as  is  commonly  supposed,  because  of  his  family  name, 
seems  almost  certain.  Bartsch,  Vol.  VI.,  pp.  103-108,  enters  very 
fully  into  the  consideration  of  this  much  vexed  question.  His 
strongest  argument  is  based  on  the  portrait  of  Martin  Schongauer, 
painted  on  wood  by  his  pupil,  Jan  Largkmair,  and  at  the  time  of 
writing  in  the  gallery  of  Paul  de  Praun  at  Nuremberg. 

At  the  top  of  this  portrait  is  written  : 

HIPSCH  MARTIN  SCHONGAVER  MALER,  I483, 

with  a  coat  of  arms  :  a  crescent,  gules,  upon  a  field,  argent.  Upon 
the  back  of  the  picture  is  an  inscription  which  may  be  translated 
as  follows: 

"  Master  Martin  Schongauer,  painter,  called  '  Martin  the 
Beautiful,'  on  account  of  his  art,  born  at  Colmar,  but,  on  account 
of  his  parents,  a  citizen  of  Augsbourg.  Of  a  noble  family,  etc.  Died 
at  Colmar  in  the  year  1499,  upon  the  second  of  February.  God 
grant  him  grace.  And  I,  Jan  Largkmair,  I  was  his  pupil  in  the  year 
1488." 

At  the  end  of  Bartsch,  Vol.  VI.,  is  a  plate  showing  both  the 
inscriptions. 

As  an  engraver,  Schongauer  may  be  considered  as  the  father 
of  the  German  School,  and  although  his  works  exhibit  a  certain 


is 


Gothic  stiffness  in  the  drapery  and  in  the  attitudes  of  the  figures, 
and  a  peculiar  perspective  in  the  landscapes  and  buildings,  this  is 
more  than  atoned  for  by  the  sweetness  of  expression  in  the  faces, 
and  by  the  richness  of  imagination  and  invention  displayed  in 
many  of  his  plates. 

ADAM  BARTSCH,  44  LE  PEINTRE  GRAVEUR,"  Vol.  VI.,  pp.  103-184. 
J.  D.  PASSAVANT,  44  LE  PEINTRE  GRAVEUR,"  Vol.  I.,  pp.  209-210. 

The  Adoration  of  the  Kings. 

Bartsch,  No.  6. 

DURER,  ALBERT.    [German  School,  1471-1528.] 

Albert  Diirer  was  born  at  Nuremberg  on  the  20th  of  May, 
1471.  His  father,  a  very  skillful  goldsmith,  instructed  him  in  that 
art,  in  which  the  young  man  showed  remarkable  talent.  He 
abandoned  it  at  the  age  of  sixteen  and  at  his  urgent  request  was 
sent,  as  a  pupil,  to  Michel  Wohlgemuth  to  study  painting.  In 
1490  he  began  a  tour  of  Germany,  visiting,  in  1492,  the  town  of 
Colmar,  where  he  was  kindly  received  by  the  brothers  of  Martin 
Schongauer,  who  had  died  six  years  previously. 

In  1494  he  returned  to  Nuremberg  and  married,  in  the  same 
year,  Agnes  Frey,  the  daughter  of  a  famous  mechanician  of  that 
city.  In  1506  he  visited  Venice  (some  authorities  say  for  the 
second  time,  claiming  his  first  visit  to  have  been  made  in  1493), 
and  there  met  Marc  Antonio  Raimondi,  whose  earliest  engravings 
date  from  this  year  and  who,  later,  copied  many  of  Diirer's  en- 
gravings, even  to  adding  the  monogram. 

In  1520  or  1521  Diirer,  accompanied  by  his  wife,  made  a  journey 
to  the  Netherlands  and  did  not  return  until  July,  1524,  to  Nurem- 
berg, in  which  city  he  died  on  the  6th  of  April,  1528,  aged  57  years. 

Many  authorities  state  that  his  life  was  embittered  and  his 
death  hastened  by  the  bad  temper  and  parsimony  of  his  wife,  who 
kept  him  continually  working,  not  permitting  him  to  enjoy  the 
society  of  his  friends  or  any  relaxation. 

When  we  think  of  the  number  and  fineness  of  Diirer's  works  in 
engraving  and  painting — not  to  mention  his  drawings  and  writ- 
ings— we  cannot  help  wondering  at  the  industry  of  the  man  and 
the  remarkable  quality  of  his  productions.   In  engraving  he  found 


i6 

the  art  in  its  infancy  and  carried  the  technical  fineness  of  it  to  a 
perfection  that  has  never  been  surpassed. 

For  many  years  the  woodcuts  bearing  his  name  were  thought 
to  be  engraved  by  him,  but  it  has  been  clearly  shown  that  the 
designs  alone  are  his,  the  mechanical  labor  of  cutting  the  block 
being  done  by  other  hands. 

Bartsch  credits  him  with  the  discovery  of  the  artistic  possibili- 
ties of  etching,  Diirer  having  etched  upon  iron  plates,  in  15 15, 15 16 
and  15 18,  six  subjects;  but  Passavant  asserts  that  as  early  as  1496 
Wenceslas  Olmutz  had  already  used  etching  for  the  reproduction 
of  prints  upon  paper,  and  that  the  art  was  employed  for  the 
ornamentation  of  various  pieces  of  armor  in  the  twelfth  century, 
in  Italy,  France,  and  Germany. 

BARTSCH,  ADAM,  "LE  PEINTRE  GRAVEUR,"    Vol.  VII.,  pp.  5-197. 

BRYAN,  MICHAEL,  "  DICTIONARY  OF  PAINTERS  AND  ENGRAVERS." 

CUST,  LIONEL,  "THE  ENGRAVINGS  OF  ALBRECHT  DURER." 

HELLER,  JOSEPH,  "DAS  LEBEN  UND  DIE  WERKE  ALBRECHT 
DftRER'S,"  Vol.  II. 

KOEHLER,  S.  R.,  "CATALOGUE  OF  AN  EXHIBITION  OF  ALBERT 
DURER'S  ENGRAVINGS,  ETCHINGS  AND  DRY  POINTS,  AND  OF 
MOST  OF  THE  WOODCUTS  EXECUTED  FROM  HIS  DESIGNS." 
Museum  of  Fine  Arts,  Boston.  November  15,  1888,  to  January, 
15,  1889. 

PASSAVANT,  J.  D.,  "  LE  PEINTRE  GRAVEUR,"  Vol.  III.,  pp.  144-227. 

RETBERG,  R.  VON,  "DURER'S  KUPFERSTICHE  UND  HOLZSCHNIT- 
TE." 

SCOTT,  WILLIAM  B.,  "ALBERT  DURER:  HIS  LIFE  AND  WORKS." 

Note. — I  am  indebted  to  Mr.  Koehler's  most  interesting  catalogue  for 
the  larger  portion  of  the  notes  upon  the  engravings  by  Diirer  here  catalogued, 
and  thank  him  for  the  valuable  assistance  rendered  to  all  print-lovers  by  his 
compilation. 


'  7 


Adam  and  Eve. 

Bartsch,  No.  i.    Heller,  No.  116.    Retberg,  No.  55. 
Dated  1504. 

Impression  upon  paper  with  the  water-mark  of  the  bull's  head. 

It  was  this  engraving  which  first  brought  Diirer  before  the 
world  in  the  full  consciousness  of  his  power,  as  undisputedly  the 
greatest  master  of  the  burin  of  his  time. 

Mr.  Lionel  Cust  writes  :  "  The  Adam  and  Eve  ranks  amongst  the 
most  important  of  Diirer's  works.  In  it  are  seen  the  results  of 
Diirer's  studies  into  the  proportions  of  the  human  body,  and  the 
triumph  of  his  attempts  to  produce  a  chiaroscuro  effect  in  copper- 
plate-engraving. Moreover,  Diirer  has  left  so  many  drawings  for 
this  composition,  and  also  unfinished  states  of  the  engraving,  that 
it  is  possible  to  trace  its  whole  history.  Starting  from  the  studies 
of  proportion,  instigated  by  Jacopo  dei  Barbari,  Diirer  is  seen,  first, 
entering  into  competition  with  one  of  Barbari's  engravings,  "Apollo 
and  Dia?ia"  with  a  similar  engraving  of  his  own  ;  then  taking  the 
motive  of  Barbari's  engraving  in  a  drawing  of  his  own  (in  the 
British  Museum)  but  altering  the  figure  of  Apollo  into  a  version 
of  the  Apollo  Belvedere.  After  experimenting  with  this  Apollo  as 
an  iEsculapius  (drawing  in  the  Beckerath  collection  in  Berlin),  he, 
by  reversing  the  figure  of  Apollo,  turned  it  into  Adam,  as  in  the 
engraving  ;  to  this  he  added  a  drawing  of  the  figure  of  Eve  (both 
these  last  drawings  are  in  the  Albertina  collection  at  Vienna),  and 
then  combined  the  two  figures  in  the  one  composition  (drawing  in 
the  Lanna  collection  at  Prague)  as  in  the  engraving,  though  in 
reverse. 

The  unfinished  states  of  the  engraving  show  how  carefully 
Diirer  elaborated  the  dark  masses  of  the  background  in  order  to 
throw  into  relief  the  nude  bodies,  in  the  earliest  state  these  figures 
being  left  in  outline.  Thus  the  real  motive  of  this  wonderful  en- 
graving is  to  produce  ideal  figures  of  a  man  and  a  woman  as 
exemplified  by  Adam  and  Eve  before  the  fall. 

That  Diirer  was  himself  pleased  with  the  result  of  his  labors, 
at  the  time,  seems  certain  from  the  detailed  inscription  on  the 
tablet :  albert  durer  noricus  faciebat,  followed  by  the  mono- 
gram and  the  date.  His  price  for  it  was,  as  for  all  his  "  full 
sheet "  prints,  eight  for  one  florin,  or  four  stivers  for  a  single  copy. 

The  Sudarium  Displayed  by  Two  Angels. 

Bartsch,  No.  25.    Heller,  No.  467.    Retberg,  No.  202. 
Dated  15 13. 

Frequently  called  the  Sudarium  of  St.  Veronica. 


i8 


The  Prodigal  Son. 

Bartsch,  No.  28.    Heller,  No.  477.    Retberg,  No.  5. 
From  the  collections  of  P.  Mariette  (1666). 

Robert-Dumesnil. 

W.  Beckford  (author  of  Vathek). 

De  Bois. 

Griffith. 

The  "Prodigal"  is  considered  by  some  writers  to  be  a  por- 
trait of  Diirer  himself. 

The  original  drawing  by  Diirer  for  this  engraving  is  in  the 
British  Museum.  Both  drawing  and  engraving  show  the  same 
peculiarities  in  the  limbs  of  the  Prodigal.  The  background  has 
always  been  much  admired,  and  Vasari  says  of  it :  "  In  this  en- 
graving there  are  huts  or  cabins  after  the  German  manner,  which 
are  exceedingly  beautiful." 

The  Virgin  With  the  Crown  of  Stars. 

Bartsch,  No.  31.    Heller,  No.  517.    Retberg,  No.  118. 
Dated  1508. 

An  interesting  feature  of  this  print  is  the  face  of  "  the  man  in 
the  moon  "  in  the  crescent,  upon  which  the  Virgin  stands.  Diirer 
omitted  this  detail  in  his  later  prints  of  similar  subjects. 

The  Virgin  Nursing  the  Infant  Jesus. 

Bartsch,  No.  36.    Heller,  No.  576.    Retberg,  No.  232. 
Dated  1512. 

From  the  Gervaise  collection. 

Thausing  says  of  this  plate  that  it  is  remarkable  for  the  soft 
grey  tone  of  the  engraving  : 

"All  Diirer's  prints  after  15 10  have,  in  the  best  impressions,  a 
silvery  grey  tone,  which  is  quite  new  in  the  history  of  engraving. 
This  Diirer  attained  by  first  working  on  the  plate  with  the  needle, 
and  then  strengthening  the  engraving  bit  by  bit  with  the  burin 
until  the*required  effect  was  produced.  In  this  way  he  produced 
the  most  beautiful  of  his  renderings  of  the  Virgin  and  Child,  in 
every  one  of  which  the  motive  of  homely  motherly  love  is  as 
conspicuous  and  as  touching  as  in  the  Madonna  della  Sedia,  or  the 
Madonna  della  Casa  Tempi  of  Raphael.  Chief  among  those  may  be 
reckoned  The  Virgin  With  the  Pear,  of  15 11,  and  The  Virgin  Seated 
by  a  Wall,  oi  1514."  (Lionel  Cust,  "The  Engravings  of  Albrecht 
Diirer,"  pp.  57-58.) 


19 


The  Virgin  Crowned  by  an  Angel. 

Bartsch,  No.  37.    Heller,  No.  537.    Retberg,  No.  236. 
Dated  1520. 

From  the  collection  of  P.  Mariette  (1649). 

The  Virgin  Crowned  by  Two  Angels. 

Bartsch,  No.  39.    Heller,  No.  547.    Retberg,  No.  226. 
Dated  15 18. 

The  original  drawing  for  the  drapery  on  the  knees  is  in  the 
Albertina,  Vienna. 

77ie  Virgin  Seated  by  a  IVall. 

Bartsch,  No.  40.    Heller,  No.  610.    Retberg,  No.  205. 
Dated  15 14. 

From  the  collection  of  Pierre  Mariette  (1660). 

This  print  shows  the  results  of  Diirer's  experiments  in  etching. 
The  silvery  quality  so  noticeable  in  his  later  prints  can  first  be  dis- 
cerned in  this  one.  It  results  from  the  judicious  use  of  the 
etched  line,  finished  with  the  burin. 

The  Virgin  IVith  the  Pear. 

Bartsch,  No.  41.    Heller,  No.  621.    Retberg,  No.  194. 
Dated  1511. 

This  is  considered  by  several  authorities  to  be  one  of  the  most 
beautiful  Madonnas  engraved  by  Diirer. 

The  Virgin  With  the  Monkey. 

Bartsch,  No.  42.    Heller,  No.  628.    Retberg,  No.  88. 

This  is  one  of  the  most  beautiful  and  dignified  of  Diirer's 
renderings  of  this  subject,  not  only  in  the  figures  of  the  Virgin 
and  Child,  but  also  in  the  breadth  and  airiness  of  the  landscape. 
Unfortunately,  the  enjoyment  of  the  design  is  marred  somewhat  by 
the  fact  that  the  child  is  teazing  a  poor  little  bird,  and  holds  in  its 
left  hand  a  sucking-bag,  which  is  even  more  objectionable  than  the 
usual  apple  or  pear. 

The  monkey  has  given  opportunity  to  the  commentators  to 
display  their  ingenuity.  According  to  Retberg,  it  symbolizes  the 
devil.     Heller  thinks  it  is  intended  for  the  child  to  play  with, 


20 


while  von  Eye  conjectures  that  such  animals  were  probably  kept 
in  the  houses  of  persons  of  rank  at  the  time.  The  opinion,  ex- 
pressed by  Passavant  and  others,  that  the  design  suggests  Italian 
influences,  seems  fully  justified.  In  its  austerity,  on  the  other  hand, 
it  is  allied  to  the  contemporaneous  designs  of  the  "  Apocalypse," 
but  there  is  more  beauty  in  it.  The  loveliness  of  the  background 
was  soon  recognized,  and  several  Italian  engravers  availed  them- 
selves of  it. 

Five  of  the  Disciples  of  Jesus  Christ. 
Saint  Philip. 

Bartsch,  No.  46.    Heller,  No.  652.    Retberg,  No.  264. 
Dated  1526. 

Saint  Bartholomew. 

Bartsch,  No.  47.    Heller,  No.  659.    Retberg,  No.  251. 
Dated  1523. 

Saint  Thomas. 

Bartsch,  No.  48.    Heller,  No.  667.    Retberg,  No.  207. 
Dated  15 14. 

Saint  Simon. 

Bartsch,  No.  49.    Heller,  No.  678.    Retberg,  No.  252. 
Dated  1523. 

Saint  Paul. 

Bartsch,  No.  50.    Heller,  No.  686.    Retberg,  No.  206. 
Dated  15 14. 

This  series  was  doubtless  intended  to  comprise  the  twelve 
apostles,  but  though  worked  upon,  at  intervals,  for  twelve  years, 
it  was  never  completed. 

Saint  Christopher  With  His  Plead  Turning  to 

the  Left. 

Bartsch,  No.  51.    Heller,  No.  708.    Retberg,  No.  245. 
Dated  1521. 


2T 


Saint  George. 

Bartsch,  No.  53.    Heller,  No.  737.    Retberg,  No.  121. 

From  the  collections  of  Prince  Paar  of  Austria,  and  of 
Ambroise  Firmin-Didot,  Paris. 

St.  George,  according  to  the  legend,  was  a  prince  of  Cappa- 
docia,  who  died  the  death  of  a  martyr  under  Diocletian.  His  most 
celebrated  deed  was  the  killing  of  the  dragon  which  threatened  to 
devour  the  Royal  Princess,  Aja.  The  legend  is  of  oriental  origin 
and  was  introduced  into  Europe  by  the  Crusaders.  It  is  stated  that 
the  Emperor  Maximilian  I.  reorganized  the  order  of  St.  George, 
which  had  fallen  into  decay,  and  possibly  Diirer's  two  engravings 
of  the  Saint  were  inspired  by  this  action. 

Saint  Sebastian  Tied  to  a  Column. 

Bartsch,  No.  56.    Heller,  No.  783.    Retberg,  No.  17. 
From  the  Keller  collection. 

Saint  Eustace  (or  Saint  Hubert). 

Bartsch,  No.  57.    Heller,  No.  727.    Retberg,  No.  127. 

Eustace,  or  Placidus  by  his  heathen  name,  was  a  valorous  gen- 
eral under  the  Emperor  Trajan,  and  a  passionate  hunter.  While 
hunting  one  day,  Christ  crucified  appeared  to  him  between  the 
antlers  of  a  stag,  and  spoke  to  him,  whereupon  he  and  his  whole 
family  were  converted.  A  similar  story  is  related  of  St.  Hubert, 
and,  by  a  confusion  of  names,  this  plate  is  sometimes  miscalled 
u  St.  Hubert." 

It  is  the  largest  of  Diirer's  engraved  plates  and  is,  at  the  same 
time,  one  of  the  finest  in  execution  and  one  of  the  rarest.  Emperor 
Rudolph  II.  caused  the  lines  in  the  plate  to  be  filled  with  gold. 

Saint  Jerome  in  His  Cell. 

Bartsch,  No.  60.    Heller,  No.  756.    Retberg,  No.  208. 
Dated  1514. 

St.  Jerome,  one  of  the  most  learned  of  the  Fathers  of  the  Latin 
Church,  a  prolific  writer,  and  the  translator  of  the  Vulgate  (born  331 
or  342  in  Dalmatia  of  well-to-do  parents;  converted  to  Rome  about 
360  ;  lived  four  years  as  an  anchorite  in  the  desert  ;  died  about  420 
at  a  monastery,  near  Bethlehem,  which  he  had  founded  with  funds 
furnished  by  Paula,  a  wealthy  lady  of  his  following),  was  one  of 
the  favorite  Saints  of  Diirer's  and  of  later  times,  and  therefore 


22 


often  taken  as  a  subject  by  artists.    The  lion  accompanies  him, 
because,  according  to  the  legend,  he  drew  a  thorn  from  the  paw  of 
the  animal,  which  ever  afterwards  was  his  companion. 
Of  this  print  Mr.  Lionel  Cust  writes  : 

u  St.  Jerome,  the  type  of  the  mediaeval  scholar,  who,  by  his 
translation  of  the  Bible  into  Latin,  became  one  of  the  real  Fathers 
of  Christianity,  sits  at  his  writing  desk  in  his  library.  The  room 
is  a  regular  German  interior,  such  as  that  of  Hans  Sachs  in  Wag- 
ner's 'Die  Meistersinger,'  and  the  warm  morning  sun  streams 
through  the  window,  over  the  Saint  and  the  floor,  where  the  lion 
and  a  dog  lie  slumbering  in  its  warmth.  All  is  peace,  happiness 
and  contentment,  and  simplicity  and  comfort  are  blended  in  the 
fittings  of  the  chamber." 

In  "Le  Peintre  Graveur,"  by  Adam  Bartsch,  Vol.  VII.,  p.  76, 
we  read  :  "The  two  animals,  the  skull  and  the  furniture  of  the 
cell  are  engraved  with  rare  delicacy,  and  at  the  same  time  in  the 
most  artistic  manner.  One  cannot  see,  without  admiring,  the  care 
with  which  Diirer  has  expressed  in  this  beautiful  print  the  effect 
of  bright  light  shining  through  the  glass  of  the  window  and  illumi- 
nating the  room." 

Saint  Jerome  in  His  Cell. 

Copy  in  reverse,  not  described  by  Bartsch. 

Saint  Jerome  in  Penance. 

Bartsch,  No.  61.    Heller,  No.  776.    Retberg,  No.  8. 

Melancholy. 

Bartsch,  No.  74.    Heller,  No.  846.    Retberg,  No.  209. 
Dated  15 14. 

Diirer  in  his  writings  dwells  so  much  upon  the  dominating  in- 
fluence of  the  Four  Temperaments  in  life,  that  there  is  good  ground 
for  believing  that  this  engraving  was  one  of  a  series  and  represents 
the  Melancholic,  as  does  the  St.  Jerome  in  His  Study,  the  Phleg- 
matic, and  the  Knight,  Death  and  the  Devil,  the  Sanguine,  Temper- 
ament. Diirer,  however,  makes  no  mention  of  any  such  meaning 
in  connection  with  this  print. 

This  has  always  been  considered  one  of  the  best,  as  it  certainly 
is  one  of  the  most  interesting  and  enigmatical  of  Diirer's  engrav- 
ings. Of  it  Thausing  writes  :  "  The  winged  woman,  who,  supporting 


23 


her  cheek  in  her  left  hand,  and  with  a  laurel  wreath  on  her  loosely 
bound  hair,  is  seated  plunged  in  gloomy  meditation,  all  the  materials 
for  human  labor,  for  art  and  for  science  lying  scattered  around 
her — what  could  she  be  meant  to  represent  but  Human  Reason,  in 
despair  at  the  limits  imposed  upon  her  power  ?" 

Mr.  Lionel  Cust  writes:  "In  the  Melancolia  there  can  be  no 
doubt  that  the  so-called  i  magic  square'  refers  directly  to  the  death 
of  his  mother.  His  mother  died  on  May  17,  15 14.  Now  the  figures 
on  the  square  can  be  read  as  follows  :  The  two  figures  in  the  op- 
posite corners  to  each  other,  16 +  1  and  13  +  4,  make  17,  the  day  of 
the  month;  so  do  the  figures  in  the  centre,  read  crossways,  10  +  7 
and  1 1 4- 6,  and  also  the  middle  figures  at  the  sides  read  across, 
5  +  12  and  8  +  9.  The  two  middle  figures  in  the  top  line,  3  +  2, 
give  5,  the  month  in  question;  and  the  two  middle  figures  in  the 
bottom  line  give  the  year,  15 14.  Above  the  square  a  bell  tolls  the 
fatal  knell,  and  the  sandglass  timepiece  hard-by  records,  no  doubt, 
the  hour  at  which  the  sad  event  happened."    Pp.  63-64. 

The  Dream. 

Bartsch,  No.  76.    Heller,  No.  854.    Retberg,  No.  116. 

There  is  much  diversity  of  opinion  as  to  the  meaning  of  this 
print.  Vasari  speaks  of  it  as  "representing  a  man  sleeping  in  a 
bath  room,  while  Venus  is  behind  him  inspiring  his  dreams  with 
temptation,  and  Love,  mounted  on  stilts,  capers  and  sports  around 
him,  while  the  Devil  blows  into  his  ear  with  a  pair  of  bellows." 
According  to  Thausing,  it  is  "a  pictorial  satire  on  senile  lust." 

The  Great  Fortune. 

Bartsch,  No.  77.    Heller,  No.  839.    Retberg,  No.  124. 

"  Fortune  is  represented  by  a  nude  winged  woman.  She  is 
seen  in  profile  and  faces  to  the  right.  She  carries  in  one  hand  a 
precious  vase,  and  in  the  other  a  bridle,  indicating  the  sway  she 
exercises  over  mankind  by  the  desire  of  riches,  just  as  the  wings, 
and  the  globe  upon  which  she  stands,  show  her  inconsistency. 

The  landscape  which  occupies  the  bottom  of  the  print  is, 
according  to  Sandrart,  that  of  the  village  of  Eytas,  near  Giulia,  in 
Hungary,  the  birthplace  of  Albert  Diirer's  father  and  the  place 
from  which  the  family  derived  its  origin. 

Some  persons  assert  that  the  head  of  Fortune  is  the  portrait 
of  Diirer's  wife.    Fine  proofs  of  this  print  are  very  rare." 

(Bartsch,  Vol.  VII.,  pp.  91-92.) 


24 


This  print  is  also  sometimes  called  "Temperance"  and  "Pan- 
dora." Diirer  himself  calls  it  "Nemesis"  but  for  what  reason  is 
not  rightly  known. 

Justice. 

Bartsch,  No.  79.    Heller,  No.  826.    Retberg,  No.  51. 
From  the  Burleigh  James  collection. 

It  seems  that  Diirer  wished  to  represent  in  this  print  God  as 
He  will  appear  in  His  glory  on  the  last  day  to  judge  both  the 
quick  and  the  dead. 

The  Little  Courier. 

Bartsch,  No.  80.    Heller,  No.  986.    Retberg,  No.  13. 

Considered  by  some  authorities  to  be  a  portrait  of  Eppelein 
von  Garlingen,  a  celebrated  robber-knight  of  the  fourteenth  cen- 
tury. 

The  Peasant  and  His  JVife. 

Bartsch,  No.  83.    Heller,  No.  921.    Retberg,  No.  11. 

There  is  much  diversity  of  opinion  as  to  the  real  meaning  of 
this  print,  which  is  considered  by  some  writers  to  be  a  satire  upon 
the  conceit  of  the  peasantry.  Of  it  Bartsch  says :  "Anger  is  ex- 
pressed in  the  face  of  the  peasant,  and  his  raised  right  hand  shows 
that  he  threatens  the  woman  who  walks  meekly  by  his  side  and 
with  her  hands  folded  in  front  of  her."  Allihn,  however,  takes  a 
different  view  entirely  and  says  that  the  pair  "  are  about  to  step  up 
to  the  dance,  and  that  the  man,  far  from  scolding,  is,  on  the  con- 
trary, trying  to  make  himself  agreeable." 

The  Assembly  of  Warriors. 

Bartsch,  No.  88.    Heller,  No.  981.    Retberg,  No.  4. 

It  has  been  thought  by  some  writers  that  this  print  represents 
Diirer  in  the  hands  of  brigands.  Bartsch  declares,  however,  that 
there  is  no  real  foundation  for  such  an  opinion.  It  is  probably 
only  a  study  of  costumes. 

Dancing  Peasants. 

Bartsch,  No.  90.    Heller,  No.  912.    Retberg,  No.  210. 
Dated  15 14. 

Sometimes  called  "  Le  Branle  "  (a  swinging  or  whirling  dance). 


25 

For  individuality  and  for  the  happy  expression  of  a  transient 
mood  in  face  as  well  as  in  pose,  the  "  Dancing  Peasants  "  is  quite 
as  much  without  rivals  in  its  class  as  "  The  Knight,  Death  and 
the  Devil,"  "Melancholy,"  and  "St.  Jerome  in  His  Cell"  are  with- 
out rivals  in  theirs. 

Like  "The  Peasant  and  His  Wife"  (Bartsch,  No.  83)  this  plate 
is  supposed  to  be  a  satire  upon  the  conceit  of  the  peasantry.  The 
struggle  of  the  oppressed  peasants  to  better  their  miserable  con- 
dition was  a  topic  of  interest  at  this  time.  As  early  as  1476  risings 
occurred  in  South  Germany,  and  these  finally  culminated  in  the 
Peasants'  War  in  1525.  As  usual,  the  just  demands  of  the  op- 
pressed were  met  by  scorn  and  derision,  and  it  is  likely  enough 
that  Diirer,  like  other  artists,  tried  to  make  money  out  of  this  sad 
condition  of  things.  If  we  regret  this  side  of  Diirer's  activity,  we 
may,  however,  temper  our  regret  by  the  following  considerations, 
advanced  by  Allihn  (p.  88)  :  "In  these  scenes  of  peasant  life  Diirer 
also  is  in  curious  discord  with  himself.  It  is  true  he  joins  in  the 
general  derision  of  the  peasants  ;  he  engraves  his  plates  for  those 
who  found  pleasure  in  testing  their  superior  wit  at  the  expense  of 
the  peasants,  and  who  would  have  been  as  contented,  if  not  more 
so,  with  the  most  scurrilous  caricature,  but  it  was  impossible  for 
Diirer  to  demand  such  a  production  of  his  genius.  He  draws  a 
character-picture  of  superior  comic  qualities,  but  not  a  libel — yea, 
even  more  than  this,  he  executes  his  genre  representation  with  the 
same  loving  care  as  his  most  beautiful  Madonna. 

This  applies  especially  to  the  Dancing  Peasants." 

The  Knight  and  the  Lady. 

Bartsch,  No.  94.    Heller,  No.  884.    Retberg,  No.  14. 

Some  authorities  detect  portraits  of  Diirer  and  his  wife  in  this 
print.  It  would  seem,  however,  that  it  merely  represents  the 
eternal  presence  of  death,  Youth  and  Love  being  no  defense. 

The  Little  Horse. 

Bartsch,  No.  96.    Heller,  No.  1000.    Retberg,  No.  85. 
Dated  1505. 

The  real  meaning  of  this  print  is  doubtful.  Some  authorities 
see  in  it  merely  the  outcome  of  Diirer's  study  of  the  proportions  of 
the  horse,  the  mythological  adjuncts  being  added  to  please  the 
educated  public,  while  others  recognize  in  the  armed  figure,  Per- 
seus or  Mercury. 


26 


The  Coat  of  Arms  With  a  Skull. 

Bartsch,  No.  101.    Heller,  No.  1022.    Retberg,  No.  53. 
Dated  1503. 

A  much  discussed  print  which  it  would  seem  safe  to  connect, 
in  a  general  way,  with  the  idea  of  the  "  Dance  of  Death,"  although 
the  "  Wild  Man  "  is  evidently  not  a  personification  of  death,  but 
a  satyr,  as  his  right  leg,  visible  to  the  left,  clearly  shows. 

"This  print  is  one  of  the  most  esteemed  works  of  the  artist. ** 
(Bartsch,  Vol.  VII.,  p.  109.) 

The  Knight,  Death  and  the  Devil. 

Bartsch,  No.  98.    Heller,  No.  1013.    Retberg,  No.  203. 
Dated  15 13. 

The  long  illness  and  approaching  death  of  Diirer's  mother  are 
thought  to  have  saddened  the  artist  and  at  the  same  time  inspired 
him  to  engrave  his  three  world-famous  masterpieces,  "The  Knight, 
Death  and  the  Devil,"  "  St.  Jerome  in  His  Cell,"  and  "  Melancholy"— 
"which  contain  the  philosophy  of  a  lifetime  and  are  more  eloquent 
than  a  thousand  volumes  of  printed  knowledge." 

Durer,  in  his  Diary,  calls  this  plate  simply  "  Der  Ritter,"  but 
the  titles  invented  for,  and  meanings  ascribed  to  the  print,  are  very 
numerous. 

Old  catalogues  say  that  it  represents  a  Nuremberg  soldier, 
named  Rinck  or  Rinneck,  who  lost  his  way  and  met  Death  and  the 
Devil  in  the  darkness  of  the  night — a  story  which  is  contradicted 
by  the  lighting  of  the  composition. 

Heller  calls  it  "The  Christian  Knight  with  Death  and  the 
Devil,"  and  states  that  it  represents  Franz  von  Sickingen,  "  who 
was  especially  and  generally  feared  in  Germany  about  1510-1512, 
and  whose  character  was  depicted  by  his  enemies  at  the  time  in 
the  most  terrible  and  damaging  manner." 

Thausing  says  the  Knight  is  grinning,  to  show  how  little  he  is 
affected  by  the  apparitions  around  him,  and  is  of  the  opinion  that 
the  plate  was  intended  to  form  one  of  the  series  of  the  Four  Tem- 
peraments, and  that  the  S  before  the  date  stands  for  Sa?tguinicus . 

Portrait  of  Albert  of  Mayence. 

Bartsch,  No.  102.    Heller,  No.  1024.    Retberg,  No.  234. 
Dated  15 19. 

Called  also  "The  Little  Cardinal"  to  distinguish  it  from  "The 
Great  Cardinal."  (Bartsch,  No.  103.)    Albert  or  Albrecht,  Margrave 


27 


of  Brandenburg,  born  1489  or  1490,  died  1545,  was  the  man  who, 
after  he  had  received  the  Pope's  authority  to  sell  indulgences 
within  his  diocese,  on  condition  of  making  over  to  the  papal  treas- 
ury one-half  of  the  profits,  appointed  the  Dominican  Tezel,  and 
thus,  indirectly,  caused  Luther  to  post  his  ninety-five  theses.  His 
titles  are  given  in  the  inscription  in  the  upper  part  of  the  plate  : 
"  Albert,  by  divine  mercy  the  most  holy  Roman  Church's  Titular 
Presbyter  Cardinal  of  St.  Chrysogonus,  Archbishop  of  Mayence 
and  Magdeburg,  Primate  Elector  of  the  Empire,  Administrator  of 
Halberstadt,  Marquis  of  Brandenburg."  The  lower  inscription 
reads:  "Thus  were  his  eyes,  his  cheeks,  his  features.  Aged  29. 
1519-" 

The  plate  was  engraved  for  a  book  of  relics,  etc.,  entitled  "  Das 
Heiligthum  zu  Sachsen,"  belonging  to  the  Church  of  Sts.  Maurice 
and  Mary  Magdalen,  at  Halle,  printed  in  1524. 

"Piece  Tres  Rare."    (Bartsch,  Vol.  VII.,  p.  no.) 

Portrait  of  Albert  of  Mayence.    Seen  in  Profile. 

Bartsch,  No.  103.    Heller,  No.  1035.    Retberg,  No.  254. 
Dated  1523. 

Called  also  "  The  Great  Cardinal  "  to  distinguish  it  from  "  The 
Little  Cardinal."    (Bartsch,  No.  102.) 

The  inscriptions  are  identical,  excepting  that  the  age  has  been 
changed  to  33  and  the  date  to  1523. 

Portrait  of  Erasmus  of  Rotterdam. 

Bartsch,  No.  107.    Heller,  No.  1047.    Retberg,  No.  266. 
Dated  1526. 

Desiderius  Erasmus,  the  most  celebrated  of  the  humanists 
north  of  the  Alps,  and  in  certain  ways  a  pioneer  of  the  Reforma- 
tion, was  born  at  Rotterdam  on  October  28,  1467,  and  died  at 
Basel  on  July  12,  1536. 

Durer  met  him  and  drew  his  portrait  several  times  in  the 
Netherlands  (1520-21),  and  it  was  doubtless  from  one  of  these 
drawings  that  the  engraving  was  made  five  years  later.  Neither 
Erasmus  nor  his  friends  were  pleased  with  the  portrait,  but  as  an 
engraving  it  ranks  amongst  the  artist's  best. 

This  portrait  was,  possibly,  the  last  of  Durer's  engravings  on 
copper,  the  only  other  works  of  the  kind  dated  1526  being  the 
portrait  of  Melancthon  and  the  Apostle  Philip. 


28 


ETCHING. 

The  Carrying  Off  of  a  Young  Woman. 

Bartsch,  No.  72.    Heller,  No.  813.    Retberg,  No.  224. 
Dated  15 16. 

This  plate  was  etched  upon  iron,  as  were  also  the  five  others 
done  by  Diirer.  The  evidence  is  furnished  by  some  of  the  plates, 
still  in  existence,  and  by  the  peculiar  character  of  the  spots  in  the 
later  impressions,  which  are  due  to  the  rusting,  and  consequent 
roughening,  of  the  plates. 

This  plate  is  also  called  "  The  Rape  on  the  Unicorn,"  "Pluto 
Carrying  Off  Proserpine,"  and  "  Nessus  Carrying  Off  Dejanira." 


WOODCUTS. 

The  Birth  of  the  Virgin. 

Bartsch,  No.  80.    Heller,  No.  1709.    Retberg,  No.  67. 


The  Meeting  of  Mary  and  Elizabeth. 

Bartsch,  No.  84.    Heller,  No.  1730.    Retberg,  No.  71. 


The  Death  of  the  Virgin. 

Bartsch,  No.  93.    Heller,  No.  1787.    Retberg,  No.  80. 
Dated  15 10. 

The  three  last  named  prints  are  from  the  series  of  twenty 
cuts  illustrating  the  "  Life  of  the  Virgin."  This  series  is,  to-day,  the 
most  admired  of  all  the  woodcuts  from  the  designs  of  Diirer. 


Saint  George  Killing  the  Dragon. 

Bartsch,  No.  111.    Heller,  No.  832.    Retberg,  No.  86. 


29 


BURGMAIR,  HANS.    [German  School,  1473-1559.  (?)] 

Born  at  Augsburg  in  1473. 
Pupil  and  friend  of  Albert  Diirer. 

He  was  a  painter  of  considerable  merit  and  some  authorities 
have  thought  that  he  cut  some  of  his  own  designs,  but  there  seems 
no  reason  to  think  that  he  did  more  than  furnish  the  designs.  The 
endless  imagination,  the  richness  of  suggestion,  as  well  as  truth  to 
the  life  of  his  time,  place  him  amongst  the  greatest  illustrative 
artists  of  the  world. 

The  date  of  his  death  is  not  known,  being  variously  placed  from 
i5!7  to  1559. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  VII.,  pp.  197-242. 

A  Stag  Hunt. 

Bartsch,  No.  80. 

A  Battle. 

Bartsch,  No.  80. 

From  a  series  of  237  pieces,  engraved  by  various  artists,  after 
the  designs  of  Burgmair,  and  entitled  "  Der  Weiss  Konig." 

This  series  shows  the  principal  events  of  the  life  of  the  Emperor 
Maximilian  I. 

Bartsch,  Vol.  VII.,  pp.  224-229. 

RAIMONDI,  MARC   ANTONIO.     [Italian  School,  1485- 

i53o.  (?)] 

The  greatest  of  all  the  Italian  engravers. 

The  dates  of  his  birth  and  of  his  death  are  not  certainly 
known.  He  was  born  at  Bologna  about  1485  and  died  in  the  same 
city  about  1530. 

His  first  master  was  Francesco  Raibolini,  called  Francia,  a 
well-known  painter  and  goldsmith,  who  taught  him  to  work  in 
niello.  His  first  engraving,  for  its  own  sake,  bears  the  date  of  1502, 
and  is  from  a  picture  by  Francia,  representing  Pyramus  and  Thisbe. 

In  1509  he  was  engaged  at  Venice  in  engraving  copies  on 
metal  of  seventeen  of  Albert  Diirer's  woodcuts  from  "The  Life  of 
the  Virgin,"  of  the  thirty-six  cuts  from  the  "  Little  Passion — on 
wood,"  and  of  the  engraving  of  "Adam  and  Eve."    There  is  some 


3° 

doubt  as  to  whether  Marc  Antonio  did  this  with  a  fraudulent 
intention  or  not,  but  as  he  signed  his  copies  with  the  monogram  of 
Diirer,  it  seems  probable  that  he  either  desired  to  sell  his  copies 
for  the  originals,  or  profit  in  some  other  way  by  the  reputation  of 
Diirer. 

The  famous  plate  after  Michel  Angelo's  "  Cartoon  of  Pisa  "  was 
engraved  at  Florence  in  the  year  15 10. 

About  a  year  later  he  went  to  Rome,  where  he,  at  first,  con- 
tinued his  imitation  of  Diirer's  works,  but,  later,  enrolled  himself 
among  the  followers  of  Raphael,  in  whose  studio,  and  under  whose 
direction,  he  worked  for  the  next  eight  or  nine  years. 

Leaving  Raphael's  studio,  he  set  up  a  studio  of  his  own,  where 
he  received  pupils,  among  whom  the  most  famous  were  Agostino 
De'Musi  and  Marco  Dente  da  Ravenna. 

Much  of  the  perfection  of  Marc  Antonio's  work  is  doubtless 
due  to  the  influence  of  Raphael,  from  whose  drawings  many  of  his 
finest  plates  were  engraved.  Some  of  these  original  drawings  still 
exist,  but  in  many  cases  the  engravings  show  variations  from  the 
drawings,  probably  suggested  by  Raphael  himself. 

After  the  death  of  Raphael  in  1520,  Raimondi  engraved  numer- 
ous plates  after  the  designs  of  Giulio  Romano,  but  none  of  these 
plates  are  so  highly  esteemed  as  those  engraved  after  the  designs 
of  Raphael. 

For  engraving  a  series  of  indecent  subjects,  illustrating  some 
sonnets  of  Pietro  Aretino,  Raimondi  was  imprisoned  by  Pope 
Clement  VII.,  but  through  the  intercession  of  some  of  the  cardinals 
and  of  the  painter  Baccio  Bandinelli,  he  was  released.  On  re- 
covering his  liberty,  and  desirous  of  expressing  his  gratitude  to 
Bandinelli,  he  engraved  his  celebrated  print  of  the  "  Martyrdom  of 
Saint  Lawrence  "  after  the  painting  of  Bandinelli.  This  engraving 
was  shown  to  the  Pope,  who  was  so  pleased  with  it  that  he  at  once 
took  Raimondi  under  his  special  protection. 

At  the  sack  of  Rome  by  the  Spaniards  in  1527,  Marc  Antonio 
lost  all  his  possessions,  and  left  that  city  for  Bologna,  where  he 
died. 

For  over  three  centuries  the  engravings  of  Marc  Antonio 
have  enjoyed  a  reputation  comparable  only  to  that  of  the  paint- 
ings of  Raphael.  Fine  impressions  of  his  best  plates  are  exceed- 
ingly rare,  and  when  offered  at  auction  sales  excite  a  fierce  compe- 
tition. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  XIV. 

J.  D.  PASSAVANT,  "  LE  PEINTRE  GRAVEUR,"  Vol.  I.,  pp.  248-250. 


3J 


The  Massacre  of  the  Innocents. 

Bartsch,  No.  20. 

From  a  design  by  Raphael. 

Bartsch  thinks  that  this  plate  may  have  been  engraved  by 
Marco  Dente  da  Ravenna  after  the  first  plate  (Bartsch,  No.  18)  by- 
Marc  Antonio,  the  inscription  of  which  reads  :   raph  vrbi.  inve  aa. 

It  seems  unlikely  that  Marc  Antonio  would  have  twice  en- 
graved such  an  important  plate,  but,  on  the  other  hand,  the  qual- 
ity of  the  work,  though  inferior  to  the  first  plate  (Bartsch,  No.  18), 
is  so  good  that  it  is  hard  to  believe  it  is  from  the  hand  of  another 
engraver. 

From  the  collection  of  Franz  Josef:  Grafen  Von  Enzenberg. 


The  Descent  from  the  Cross. 

Bartsch,  No.  32. 

From  a  design  by  Raphaei. 

Saint  Paul  Preaching  at  Athens. 

Bartsch,  No.  44. 

From  a  design  by  Raphael. 

The  Virgin  Seated  Upon  the  Clouds. 

Bartsch,  No.  47. 

From  a  design  by  Raphael. 

From  the  collection  of  Ambroise  Firmin-Didot. 

The  Virgin  and  Child,  IVith  the  Palm  Tree. 

Bartsch,  No.  62. 

The  Virgin  is  accompanied  by  Saint  Elizabeth.  The  infant 
Christ,  seated  upon  His  mother's  knee,  extends  His  hand  in  bless- 
ing toward  Saint  John,  who  kneels  before  Him. 

This  plate  is  one  of  the  most  perfect  that  Marc  Antonio  has 
engraved  after  Raphael,  both  as  to  drawing  and  engraving. 


32 


Jesus  Christ,  the  Virgin  and  Three  Saints. 

Bartsch,  No.  113. 

From  a  design  by  Raphael. 

This  plate  is  often  called  "  The  Five  Saints." 

The  Virgin  is  seen  in  the  clouds  at  Christ's  right  hand  and 
Saint  John  the  Evangelist  at  his  left.  Upon  the  ground,  at  the 
right-hand  side  of  the  print,  Saint  Catharine,  kneeling,  is  seen  ; 
while  Saint  Paul,  standing,  faces  her  from  the  left. 


Saint  Cecilia. 

Bartsch,  No.  116. 

From  a  design  by  Raphael. 

Saint  Cecilia  is  attended  on  the  right  by  Mary  Magdalene  and 
Saint  Augustine,  and  on  the  left  by  Saint  Paul  and  Saint  John. 

The  drawing,  from  which  this  engraving  was  made,  differs 
considerably  from  the  painting  by  Raphael  of  the  same  subject  in 
the  Church  of  Saint  John  at  Bologna. 


The  Triumph  of  Titus. 

Bartsch,  No.  213. 

From  the  design  of  Gianantonio  Razzi. 

This  engraving,  frequently  and  incorrectly  called  "  The 
Triumph  of  Marcus  Aurelius,"  is  one  of  Raimondi's  finest  plates. 

The  original  drawing  by  Gianantonio  Razzi,  now  in  the  Biblio- 
theque  Nationale  in  Paris,  was  formerly  attributed  to  Andrea 
Mantegna  and  also  to  Francesco  Francia. 


Parnassus. 

Bartsch,  No.  247. 

From  a  design  by  Raphael. 

Raphael  painted  the  same  subject  on  one  of  the  walls  of  the 
"  Stanza  of  the  Signature,"  in  the  Vatican,  but  this  plate  was  en- 
graved from  the  drawing,  not  from  the  painting,  from  which  it 
differs  considerably. 

This  engraving  is  one  of  the  most  famous  and  most  beautiful 
of  all  Raimondi's  works. 


33 


Trajan  s  Victory. 

Bartsch,  No.  361. 

From  the  collection  of  Ambroise  Firmin-Didot. 

This  plate  was  engraved  after  one  of  the  bas-reliefs  on  the 
Arch  of  Constantine  and  is  one  of  the  most  esteemed  works  of 
Marc  Antonio. 

Peace, 

Bartsch,  No.  393. 

From  a  design  by  Raphael. 

This  is  not  Marc  Antonio's  engraving,  but  the  "Copy  D"  de- 
scribed by  Bartsch.  The  engraver  is  not  known  and  this  print  is 
in  reverse  of  the  original. 

The  Serpent  Appearing  to  a  Young  Man. 

Bartsch,  No.  396. 

Engraved  by  Marc  Antonio  from  his  own  design. 

The  Pestilence. 

Bartsch,  No.  417. 

"This  superb  print  is  extremely  rare."    Bartsch,  p.  314. 

Portrait  of  the  Poet  Aretino. 

Bartsch,  No. -5 13. 

From  the  painting  by  Titian. 

This  print  is  one  of  the  rarest,  as  it  is  also  one  of  the  best 
engraved,  most  finished,  and  at  the  same  time,  most  artistic,  of  all 
Marc  Antonio's  works. 

Pietro  Aretino  was  an  Italian  writer  of  satirical  sonnets  and 
comedies  entitled  "  The  Scourge  of  Princes."  He  was  born  at 
Arezzo,  Italy,  on  April  20,  1492,  and  died  at  Venice,  on  October  21, 
1556. 

The  Angel  Appearing  to  Joachim. 

Bartsch,  No.  622. 

Jesus  Christ  Taking  Leave  of  His  Mother. 

Bartsch,  No.  636. 

These  are  two  of  the  seventeen  plates  engraved  by  Marc 
Antonio  after  the  series  of  woodcuts  by  Albert  Diirer.    "  The  Life 


34 


of  the  Virgin."  Marc  Antonio  signed  sixteen  of  these  plates  with 
the  monogram  of  Diirer,  affixing  his  own  mark  to  the  seventeenth 
plate  only. 

DE'MUSI,  AGOSTINO.    [Italian  School,  1490-1540.  (?)] 
Born  about  1490.    Died  about  1540. 

Frequently  called  Agostino  Veneziano,  though  his  family 
name  was  De'Musi.  He  was  a  native  of  Venice,  but  seems  to 
have  early  moved  to  Florence,  which  city  he  left  in  15 16  to  go  to 
Rome,  where  he  died. 

He  was,  together  with  Marco  Dente  da  Ravenna,  one  of  the 
principal  pupils  and  assistants  of  Marc  Antonio,  but  his  work 
never  equalled  in  quality  that  of  his  master. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  XIV. 

A  Roman  Emperor  Meeting  a  Young  Warrior. 

Bartsch,  No.  196. 

This  engraving  would  seem  to  have  been  made  after  a  drawing 
by  Raphael,  and  is  one  of  those  in  which  Agostino  Veneziano  has 
best  followed  Marc  Antonio's  manner  of  engraving. 


LUCAS  VAN  LEYDEN.    [Dutch  School,  1494-1533.] 

His  family  name  was  Jacobsz.  The  son  of  Huig  Jacobsz,  an 
obscure  painter.  Born  at  Leyden  in  1494.  At  the  age  of  fourteen 
he  engraved  his  celebrated  plate  of  "  The  Monk  Sergius  Killed  by 
Mahomet,"  and  in  various  other  branches  of  art  his  talent  was 
equally  remarkable  at  an  early  age. 

In  1527  he  journeyed  through  the  Netherlands,  studying  the 
paintings  there  to  be  seen.  From  this  journey  he  returned  broken 
in  health,  and  with  the  idea  that  he  had  been  poisoned.  From  this 
time  onward,  until  he  died  six  years  later,  in  1533,  he  was  continu- 
ously ill  and  seems  to  have  been  confined  to  his  bed  most  of  the 
time,  and  we  are  told  that  having  contrived  a  manner  of  painting 
and  engraving  in  bed,  he  may  truly  be  said  to  have  worked  until 
the  day  of  his  death. 

His  industry  was  remarkable,  even  in  that  day  of  remarkable 
men.    He  painted  in  oils,  distemper  and  on  glass,  and  treated 


35 


with  great  success  landscapes,  portraits  and  subjects  chosen  from 
history.  He  carried  the  art  of  engraving  to  a  wonderful  pitch  of 
perfection,  considering  the  multitude  of  his  other  works  and  the 
shortness  of  his  life.  His  engravings  rank  with  those  of  Marc 
Antonio  and  Albert  Durer. 

Good  impressions  are  exceedingly  rare,  and  even  during  the 
lifetime  of  the  artist  sold  at  high  prices.  The  plates  were  so 
delicately  engraved  that  they  yielded  few  good  impressions,  and 
Lucas  was  too  true  an  artist  to  permit  any  inferior  proofs  to  be 
circulated  during  his  lifetime.  After  his  death  many  inferior  im- 
pressions were  printed,  but  they  are  faint  and  lifeless. 

ADAM  BARTSCH,  Vol.  VII.,  pp.  331-443. 

J.  D.  PASSAVANT,  Vol.  III.,  pp.  3-1 1. 

Samson  and  Delilah. 

Bartsch,  No.  25. 

This  is  one  of  Lucas  van  Leyden's  earliest  plates  and  was 
probably  engraved  in  the  year  1508. 

Saint  Joachim  and  Saint  Anne. 

Bartsch,  No.  34. 

The  Baptism  of  Jesus  Christ. 

Bartsch,  No.  40. 

The  Resurrection  of  Lazarus. 

Bartsch,  No.  42. 

Lazarus  has  just  emerged  from  the  tomb  and  extends  his 
hands  towards  a  man,  who  unties  the  band  that  binds  them. 
Among  the  onlookers,  the  sisters  of  Lazarus,  Mary,  kneeling,  to 
the  left,  and  Martha,  standing,  and  facing  her,  to  the  right,  may  be 
seen. 

This  plate  is  engraved  in  the  early  manner  of  the  artist,  and 
was  probably  executed  about  1508. 


36 


Saint  Matthew. 

Bartsch,  No.  98. 

One  of  a  series  of  fourteen  engravings   representing  Jesus 
Christ  and  the  Apostles. 
Engraved  about  15 11. 

Mary  Magdalen  Enjoying  the  Pleasures  of  the 

World, 

Bartsch,  No.  122. 
Dated  15 19,  and  signed. 

This  print  is  commonly  known  by  the  name  of  "  The  Dance  of 
the  Magdalen."  It  is  one  of  Lucas  van  Leyden's  finest  engrav- 
ings. Good  impressions  are  extremely  rare,  and  even  during  the 
lifetime  of  the  artist  sold  at  a  high  price. 

Saint  Catharine. 

Bartsch,  No.  125. 
Dated  1520. 

This  plate  was  first  etched  and  then  retouched  with  the  burin. 
The  etched  work  can  clearly  be  distinguished  in  the  lines  of  the 
hair  and  head. 

Albert  Diirer  engraved  some  of  his  most  beautiful  plates  upon 
an  etched  foundation,  and  Lucas  may  have  borrowed  the  idea 
from  Diirer. 

The  Poet  Virgil  Suspended  in  a  Basket. 

Bartsch,  No.  136. 
Dated  1525,  and  signed. 

An  illustration  of  a  story,  possibly  without  foundation,  told 
about  the  poet  Virgil.  This  same  subject  was,  several  times, 
treated  by  artists  of  the  sixteenth  century. 

This  plate,  one  of  Lucas'  very  finest,  is  engraved  in  a  manner 
even  more  perfect  than  is  usual  with  this  artist.  The  grouping 
and  expression  of  the  figures  shows  the  hand  of  a  great  master. 
Bartsch,  repeating  the  story  told  by  Vasari,  says  that  Albert 
Diirer  was  so  impressed  with  the  beauty  of  this  engraving,  that 
he  felt  impelled  to  produce  a  masterpiece  also,  and  engraved  his 
celebrated  plate  of  "The  Knight,  Death  and  the  Devil."  But  this 
statement  would  seem  to  be  in  error,  since  Diirer's  plate  was  en- 
graved in  15 13  and  consequently  twelve  years  before  this  one  by 
Lucas. 


37 


Pallas. 

Bartsch,  No.  139. 

This  was  the  last  engraving  of  the  artist.  He  died,  after  a 
lingering  illness  extending  over  several  years,  before  he  had 
entirely  finished  the  plate.  We  are  told  that  shortly  before  his 
death  he  requested  to  see  the  plate  and  looked  with  interest  upon 
the  last  production  of  a  talent  that  he  had  cultivated,  throughout 
his  life,  with  such  good  results. 


MARCO  DENTE  DA  RAVENNA.     [Italian  School, 

1496-1527.] 

Born  at  Ravenna  about  1496.  Died  at  Rome  in  1527.  The 
reputation  of  Marc  Antonio  drew  many  young  artists  to  Rome  to 
study  under  him,  and  of  all  his  pupils  Marco  Dente  da  Ravenna 
and  Agostino  De'Musi  were  the  most  important. 

The  original  engravings  of  Marco  are  unequal  in  merit  and 
are  inferior  to  his  copies  of  Marc  Antonio's  plates.  Some  authori- 
ties state  that  the  second  plate  of  "The  Massacre  of  the  Innocents" 
is  by  Marco.    It  is  superlatively  good  work  for  a  copy. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  XIV. 

The  Statue  of  Marcus  Aurelius. 

Bartsch,  No.  515. 

This  unrivalled  antique  bronze  equestrian  statue  of  Marcus 
Aurelius,  anciently  supposed  to  represent  Constantine,  was  placed 
before  the  Church  of  S.  Giovanni  in  Lateran,  from  1187  to  1538, 
and  now  stands  in  the  centre  of  the  Piazza  del  Campidoglio,  facing 
the  stairs  leading  from  the  Capitol  to  the  Piazza  Ara  Cceli,  in  Rome. 


BONASONE,  GIULIO.    [Italian  School,  1500-1580.  (?)] 
A  pupil  of  Marc  Antonio. 

Bonasone  was  born  at  Bologna,  but  the  dates  of  his  birth  and 
of  his  death  are  not  certainly  known.  His  earliest  dated  engraving 
is  marked  1531,  and  his  latest  1574;  one  may  therefore  conclude 
that  he  was  born  about  1500  and  died  about  1580,  and  since  almost 
all  his  plates  exhibit,  to  an  equal  degree,  the  same  qualities,  it  is 


38 


probable  that  Bonasone  did  not  begin  to  engrave  until  his  style,  as 
a  painter,  was  mature. 

As  an  engraver,  his  plates  are  more  interesting,  in  the  majority 
of  cases,  from  their  directness  of  purpose  than  from  their  delicacy 
of  workmanship.  He  would  seem  to  have  desired  less  to  obtain 
the  reputation  of  a  great  engraver,  than  to  render  his  works  inter- 
esting by  the  choice  of  their  subjects. 

Many  of  his  plates  are  from  his  own  designs,  and  when,  as 
frequently  was  the  case,  he  engraved  from  the  works  of  other 
masters,  it  was  usually  from  their  drawings  and  not  from  their 
paintings  that  he  worked. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  XV.,  pp.  103-178. 
J.  D.  PASSAVANT,   44  LE  PEINTRE  GRAVEUR,"  Vol.  VI.,  pp.  102-103. 

Clelia  Crossing  the  Tiber. 

Bartsch,  No.  83. 

Duplicate  impression  from  the  British  Museum. 
Engraved  after  Polidoro  da  Caravaggio. 

The  scene  represented  is  Clelia  crossing  the  Tiber  and  carrying 
with  her,  to  Rome,  her  companions  who  were  prisoners  in  the  camp 
of  Porsenna. 

Silenus. 

Bartsch,  No.  83. 

Engraved  from  an  original  design  by  Bonasone. 

Flora  and  Her  Nymphs  Making  IVreaths  of 

Flowers, 

Bartsch,  No.  111. 

Engraved  after  Giulio  Romano. 


BEHAM,  HANS  SEBALD.    [German  School,  1500-1550.] 

Born  at  Nuremberg  in  1500.  Pupil  of  his  uncle,  Barthel  Beham, 
and  of  Albert  Diirer. 

He  worked  in  his  native  town  until  about  1540  when  he  re- 
moved to  Frankfort,  where  he  died  in  1550. 

As  an  engraver  he  possessed  considerable  skill  and  a  ready 


39 


invention.  His  style  is  very  neat  and  delicate  and  his  drawing, 
though  sometimes  rather  Gothic  in  effect,  is  generally  correct. 

His  dissolute  habits  shortened  his  life,  but  seemingly  had  no 
ill  effect  on  his  art. 

ADAM  BARTSCH,  44 LE  PEINTRE  GRAVEUR,"  Vol.  VIII.,  pp.  112-249. 

Hercules  Burnt  by  Philoctetes. 

Bartsch,  No.  107. 
Dated  1548,  and  signed. 

One  of  a  series  of  twelve  engravings  illustrative  of  the  labors 
of  Hercules. 

A  Satyr  Playing  Upon  a  Horn, 

Bartsch,  No.  in. 

An  Ornamental  Design. 

Not  described  by  Bartsch. 


BEHAM,  BARTHEL.    [German  School,  1502-1540.] 
Born  in  Nuremberg  in  1502. 

He  is  reputed  to  have  been  a  pupil  of  Albert  Diirer  and,  later, 
to  have  studied  at  Rome  and  at  Bologna  under  Marc  Antonio  Rai- 
mondi,  for  whom  he  engraved  several  plates  that  Marc  Antonio 
published  as  his  own  work. 

As  an  engraver,  Barthel  Beham  may  be  considered  as  one  of 
the  most  successful  of  those  who  have  attempted  to  follow  the  fine 
style  of  Marc  Antonio.  His  drawing  is  correct  and  often  masterly 
and  there  is  fine  expression  in  his  heads. 

He  died  in  Italy  about  1540. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  VIII.,  pp.  81-112. 

Portrait  of  the  Emperor  Charles  V. 

Bartsch,  No.  60. 

Dated  1531,  and  signed. 


4o 

Portrait  of  the  Emperor  Ferdinand  /. 

Bartsch,  No.  61. 

Dated  1531,  and  signed. 

First  state,  before  the  address  of  J.  ab  Heyden. 

These  two  portraits  rank  among  the  best  works  of  this  artist. 


ALDEGREVER,    HEINRICH.      [German    School,  1502- 

1560.  (?)] 

Born  at  Zoust,  in  Westphalia,  in  1502,  as  we  learn  from  the  two 
portraits  he  engraved  of  himself.  The  exact  date  of  his  death  is 
unknown,  but  from  the  evidence  of  his  latest  dated  work  it  must 
have  been  about  1560. 

Being  greatly  impressed  by  the  beauty  of  the  works  of  Albert 
Durer,  Aldegrever  went  to  Nuremberg,  where  he  studied  both 
painting  and  engraving  with  that  master. 

He  made  rapid  progress  in  both  arts,  but  at  first  painted  only. 
A  few  years  later  he  devoted  himself  entirely  to  engraving  and 
acquired  considerable  reputation.  His  style  of  work  is  founded 
upon  that  of  Albert  Diirer,  and  is  remarkably  delicate,  precise  and 
neat.  A  certain  Gothic  stiffness  is,  however,  observable,  especially 
in  the  drapery  of  his  figures. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  VIII.,  pp.  362-455. 

Samson  and  Delilah. 

Bartsch,  No.  35. 

Dated  1528,  and  signed. 

The  Virgin  Standing  Upon  a  Crescent. 

Bartsch,  No.  50. 

Dated  1533,  and  signed. 

Love. 

Bartsch,  No.  118. 
Dated  1552,  and  signed. 

One  of  a  series  of  fourteen  plates  emblematic  of  the  virtues, 
and  of  the  vices  that  are  their  opposites. 


41 


Portrait  of  Bernard  Knipperdolling. 

Bartsch,  No.  183. 
Dated  1536,  and  signed. 
Impressions  of  this  plate  are  rare. 

Bernard  Knipperdolling  was  the  leader  of  the  Anabaptists  of 
Miinster. 


CORT,  CORNELIS.    [Dutch  School,  1536-1578.] 
Born  at  Horn,  in  Holland,  in  1536. 

He  was  first  instructed  by  Hieronymus  Cock,  for  whom  he 
executed  several  plates  after  Rogier  van  der  Weyden,  Michiel 
Coxie  and  others.  Having  acquired  by  these  plates  some  reputa- 
tion, he  went  to  Italy,  and  first  resided  in  the  house  of  Titian  at 
Venice,  where  he  engraved  some  of  Titian's  finest  works. 

He  afterwards  removed  to  Rome,  where  he  established  a 
school  of  line-engraving,  in  which  he  sought  to  combine  the  simple 
manner  of  Marc  Antonio  Raimondi,  with  a  more  brilliant  and 
broader  style.  This  gave  to  the  art  a  direction  which  it  long  re- 
tained, and  which  was  adopted  and  extended  in  Italy  by  Agostino 
Caracci.  The  art  of  engraving  had,  hitherto,  been  generally  con- 
fined to  small  plates,  and  it  was  Cornells  Cort  who  opened  the 
way  to  the  larger  treatment  of  subjects  and  portraits. 

He  died  at  Rome  in  1578. 

"Ecce  Homo." 

Engraved  in  1572. 


WIERIX,  JAN.    [Dutch  School,  1549-not  known.] 
Born  at  Antwerp  (or  Amsterdam)  in  1549. 

It  is  not  known  by  whom  he  was  instructed  but  he  appears  to 
have  formed  his  style  by  a  study  of  Albert  Diirer's  engravings. 
He  made  some  very  deceiving  copies  of  Diirer's  plates,  and  is  gen- 
erally considered  to  have  been  a  truer  artist  than  either  of  his 
brothers  Anthonie  or  Hieronymus. 

The  date  of  his  death  is  not  known. 


The  Adoration  of  the  Magi. 


42 


SADELER,  JOHAN.    [Dutch  School,  1550-1600.] 
Born  at  Brussels  in  1550. 

His  father  was  an  engraver  of  ornaments,  to  be  inlaid  with 
gold  or  silver,  on  steel  and  iron,  and  Johan  Sadeler  was  brought  up 
to  the  same  business.  At  an  early  age,  however,  he  applied  himself 
to  drawing  and  studying  the  human  figure.  When  about  twenty 
years  of  age  he  commenced  engraving  on  copper,  and  his  first 
plates,  from  the  designs  of  Crispin  van  den  Broeck,  were  so  favor- 
ably received,  that  he  determined  to  devote  himself  entirely  to 
engraving. 

He  travelled  through  Germany  and  Italy  and  improved  his 
style.  His  later  plates  show  a  manner  far  less  stiff  and  hard  than 
do  his  earlier  ones. 

He  died  in  Venice  in  1600. 

Saint  Cecilia. 

WIERIX,  HIERONYMUS.    [Dutch  School,  1551-1619.] 

Born  at  Antwerp  (or  Amsterdam)  in  155 1.  He  is  supposed  to 
have  been  a  pupil  of  his  brother  Jan,  whose  style  he  so  exactly 
followed  that  it  is  often  difficult  to  distinguish  their  works  one 
from  another.  His  prints  are  more  numerous  than  those  of  Jan 
Wierix,  and  are  mostly  of  religious  subjects,  frequently  from  his 
own  designs. 

He  died  in  1619. 

A  Danish  Horse. 
A  French  Horse. 
A  Roman  Horse. 
A  Saxon  Horse. 
Horses  Playing. 
The  Five  Wise  Virgins. 
The  Holy  Family  With  Saint  Anne. 
Justice. 
Temperance. 


43 


ALBERTI,  CHERUBINO.    [Italian  School,  1552-1615.] 

Born  at  Borgo  S.  Sepolcro  in  1552.  Pupil  of  his  father, 
Michele  Alberti,  who  instructed  him  in  the  elements  of  art  and 
in  painting  in  fresco.  Cherubino  painted  several  compositions 
in  fresco,  of  which  the  best  were  in  the  Church  of  Sta.  Maria^in 


Later,  he  seems  to  have  almost  entirely  abandoned  painting 
and  to  have  devoted  himself  to  engraving.  For  his  master  in  en- 
graving he  chose  Cornelis  Cort,  or,  according  to  some  authorities, 
Agostino  Caracci. 

He  engraved  172  plates,  of  which  number  a  portion  may  have 
been  from  his  own  designs. 

In  general,  his  plates  show  taste  and  good  drawing  in  the 
figures,  and  a  fine  expression  in  the  heads.  The  draperies  are 
frequently  hard. 

He  died  in  1615. 

ADAM  BARTSCH,  "LE  PEINTRE  GRAVEUR,"  Vol.  XVII.,  pp.  45-1  22. 


Bartsch,  No.  93. 

After  a  design  by  Polidoro  Caravaggio. 

WIERIX,  ANTHONIE.    [Dutch  School,  1555-not  known.] 

Born  at  Antwerp  (or  Amsterdam)  about  1555.  He  was  the 
youngest  of  the  Wierix  family.  His  small  plates  are  executed  in 
the  finished  style  of  his  brothers,  but  his  larger  prints  exhibit  more 
freedom  and  facility.  He  engraved  similar  subjects  to  theirs  and 
sometimes  worked  in  conjunction  with  them. 


CARACCI,  AGOSTINO.    [Italian  School,  1557-1601.] 

Born  at  Bologna  in  1557.  The  elder  brother  of  Annibale 
Caracci  and  cousin  of  Lodovico  Caracci. 

He  was  intended  by  his  father  for  the  profession  of  a  gold- 
smith and  at  the  age  of  fourteen  had  engraved  some  plates,  when 
he  was  persuaded  by  Lodovico  to  study  painting.    He  accordingly 


Via. 


Venus 


The  Crucifixion. 


44 


became  a  pupil  of  Prospero  Fontana  and,  later,  learned  the  art  of 
modelling  with  the  sculptor  Minganti,  and  pen  drawing  with 
Bartolomeo  Passerotti. 

On  leaving  the  school  of  Passerotti,  Agostino,  together  with 
his  brother  Annibale,  passed  some  time  at  Parma,  studying  the 
works  of  Correggio  and  Parmegiano.  He  afterwards  went  to 
Venice,  where  he  had  an  opportunity  of  perfecting  himself  in  en- 
graving under  Cornelis  Cort,  by  whose  instruction  he  became  the 
greatest  engraver  of  his  time. 

Agostino  was  celebrated  not  only  as  a  painter  and  as  an  en- 
graver, but  we  are  told  that  he  was  equally  distinguished  in 
philosophy,  mathematics,  geography,  astrology,  history,  poetry, 
medicine  and  music. 

He  engraved  nearly  three  hundred  plates,  in  which  the  cor- 
rectness of  his  design  is  only  equalled  by  the  beauty  of  execution. 

He  died  in  j6oj,  and  was  buried  in  the  cathedral  at  Parma. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  XVIII.,  pp.  31-173. 


Portrait  of  Titian. 

Bartsch,  No.  154. 
Engraved  in  1587. 

First  state,  before  the  inscription  above. 
Impressions  in  this  state  are  very  rare. 

"  Augustine  Caracci,  of  the  Bolognese  family,  memorable  in  art, 
added  to  considerable  success  as  painter  undoubted  triumphs  as 
engraver.  His  prints  are  numerous,  and  many  are  regarded  with 
favor ;  but  out  of  the  long  list  not  one  is  so  sure  of  that  longevity 
allotted  to  art  as  his  portrait  of  Titian,  which  bears  date  1587, 
eleven  years  after  the  death  of  the  latter.  Over  it  is  the  inscrip- 
tion, Titiani  Vicellii  Pictoris  celeberrimi  ac  famosissimi  vera  effigies,  to 
which  is  added  beneath  Cujus  nomen  orbis  continere  non  valet !  Al- 
though founded  on  originals  by  Titian  himself,  it  was  probably 
designed  by  the  remarkable  engraver.  It  is  very  like,  and  yet 
unlike  the  familiar  portrait  of  which  we  have  a  recent  engraving 
by  Mandel,  from  a  repetition  in  the  gallery  of  Berlin.  Looking  at 
it,  we  are  reminded  of  the  terms  by  which  Vasari  described  the 
great  painter,  guidicioso,  bello  e  stupendo.  Such  a  head,  with  such 
visible  power,  justifies  these  words,  or  at  least  makes  us  believe 
them  entirely  applicable.  It  is  bold,  broad,  strong  and  instinct 
with  life. 


45 


This  print,  like  the  Erasmus  of  Diirer,  is  among  those  selected 
for  exhibition  at  the  British  Museum,  and  it  deserves  the  honor. 
Though  only  paper  with  black  lines,  it  is,  by  the  genius  of  the 
artist,  as  good  as  a  picture.  In  all  engraving  nothing  is  better." 
(Charles  Sumner,  "The  Best  Portraits  in  Engraving,"  p.  10.) 


GHISI,  DIANA.     [Italian  School,  i557->59°-  (?)] 

The  daughter  of  Giovanni  Battista  Ghisi,  and  the  sister  of 
Adamo  and  Giorgio  Ghisi.  All  the  members  of  this  family  added 
the  word  Mantuano  to  their  name. 

Of  the  46  plates  engraved  by  Diana,  23  bear  dates  from  1573  to 
1588,  so  that  though  the  exact  years  of  her  birth  and  of  her  death 
are  not  known,  they  can  be  guessed  with  some  degree  of  accuracy. 

Diana  was  probably  instructed  in  engraving  by  her  brother 
Giorgio,  as  her  early  prints  show  signs  of  his  influence.  These 
early  engravings  by  her  are  somewhat  weak,  but  her  style  grew 
bolder  and  firmer  in  her  later  work. 

The  effect  of  her  best  prints  is  often  good,  though  at  times  the 
drawing  is  faulty. 

She  married  the  architect  Francesco  da  Volterra,  and  became 
a  citizen  of  that  town,  calling  herself,  upon  a  plate  engraved  in 
1585,  44  Diana  Mantuana  civis  Volaterana." 

ADAM  BARTSCH,  44  LE  PEINTRE  GRAVEUR,"  Vol.  XV.,  p.  376  and 
pp.  432-45 2- 

J.  D.  PASSAVANT,  44  LE  PEINTRE  GRAVEUR,"  Vol.  VI.,  pp.  141-145. 

7he  Entombment  of  Jestts  Christ. 

Bartsch,  No.  9. 

Second  state,  with  the  words  "Horatius  Pacificus  Formis." 
Engraved  in  1588,  after  Parisi. 

The  Archangels  Michael,  Gabriel  and  Raphael 
Adoring  Jesus  Christ. 

Bartsch,  No.  31. 

First  state,  before  the  letters  R.  V.  I.  to  the  right. 
Engraved  after  Raphael. 


46 


GOLTZIUS,  HENDRIK.    [Dutch  School,  1558-1617.] 
Painter  and  engraver. 

Born  at  Mulbrecht,  in  the  Duchy  of  Juliers,  in  1558.  His  father 
was  an  eminent  glass  painter,  and  instructed  him  in  that  art.  He 
was  taught  engraving  by  Theodore  Coernhert,  but  soon  surpassed 
his  master,  for  whom,  as  also  for  Philipp  Galle,  he  executed  several 
plates. 

His  engravings  number  over  500  plates,  and  are  highly  es- 
teemed. 

Died  at  Haarlem  in  1617. 

ADAM  BARTSCH,  "LE  PEINTRE  GRAVEUR,"  Vol.  III.,  pp.  1-127. 

"  Contemporary  with  Caracci  was  Henry  Goltzius,  at  Harlem, 
excellent  as  painter,  but,  like  the  Italian,  pre-eminent  as  engraver. 
His  prints  show  mastery  of  the  art,  making  something  like  an 
epoch  in  its  history.  His  unwearied  skill  in  the  use  of  the  burin 
appears  in  a  tradition  gathered  by  Longhi  from  Wiile,  that,  having 
commenced  a  line,  he  carried  it  to  the  end  without  once  stopping, 
while  the  long  and  bright  threads  of  copper  turned  up  were  brushed 
aside  by  his  flowing  beard,  which  at  the  end  of  a  day's  labor  so 
shone  in  the  light  of  a  candle  that  his  companions  nicknamed  him 
'the  man  with  the  golden  beard.'  There  are  prints  by  him  which 
shine  more  than  his  beard."  (Charles  Sumner,  "The  Best  Por- 
traits in  Engraving,"  pp.  to-ii.) 

The  Virgin  Weeping  Over  the  Dead  Body  of 
Jesus  Christ. 

Bartsch,  No.  41. 

This  beautiful  plate,  both  in  composition  and  in  engraving, 
strongly  resembles,  without  in  any  sense  being  a  copy  of,  the  work 
of  Albert  Diirer,  and  shows  how  completely  Goltzius  could  adopt 
the  manner  of  any  master  he  desired. 

The  Magdalen  Praying  in  the  Desert. 

Bartsch,  No.  58. 

Dated  1585,  and  signed. 

This  plate  is  engraved  in  what  is  known  as  the  "earlier  man- 
ner "  of  Goltzius. 


47 


The  Dog  of  Goltzius. 

Bartsch,  No.  190. 

The  portrait  of  the  boy  is  supposed  to  be  that  of  the  son  of 
Theodore  Frisius,  a  painter  of  Venice,  to  whom  Goltzius  dedicated 
the  print. 

This  is  considered  to  be  one  of  the  artist's  finest  plates,  and  is 
one  of  the  rarest. 

It  has  been  copied  four  times. 

CARACCI,  ANNIBALE.    [Italian  School,  1560-1609.] 
Born  at  Bologna  in  1560. 

The  younger  brother  of  Agostino  Caracci,  and  the  cousin  and 
pupil  of  Lodovico  Caracci. 

This  artist  received  but  little  education,  and  is  reported  to 
have  been  hardly  able  to  read  or  to  write.  At  the  age  of  28  he 
produced  some  fine  paintings,  which  show  the  influence  of  his 
studies  of  the  great  Venetian  painters.  Later,  having  elevated  and 
refined^his  mind  by  the  study  of  the  masterpieces  of  antiquity  and 
the  works  of  Raphael  and  Michel  Angelo,  he  became  one  of  the 
most  skillful  painters  of  all  the  schools  of  Italy,  ranking  after 
Raphael,  Titian  and  Correggio. 

Annibale  Caracci  engraved  about  twenty  plates  (Bartsch  ad- 
mits but  eighteen  as  genuine)  of  various  degrees  of  excellence  and 
of  considerable  variety  of  workmanship.  His  early  plates  are  care- 
fully engraved,  the  burin  being  used  throughout.  His  later  ones 
are  entirely  etched,  the  burin  being  used  only  to  strengthen  the 
shadows  and  harmonize  the  composition. 

He  died  at  Rome  in  1609. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  XVIII.,  pp.  177-205. 

The  Adoration  of  the  Shepherds. 

Bartsch,  No.  2. 

MULLER,  JAN.    [Dutch  School,  1570-not  known.] 
Born  at  Amsterdam  about  1570. 

He  was  a  pupil  of  Goltzius,  whose  vigorous  style  he  followed 
with  an  enthusiasm  bordering  on  extravagance.  Jan  Muller  is, 
perhaps,  the  artist  who  has  handled  the  graver  with  the  most  dar- 


48 


ing  facility,  and  his  works  are  worthy  of  the  admiration  and  study 
of  those  who  desire  to  distinguish  themselves  in  the  free  use  of  the 
burin.    The  economy  of  labor  in  many  of  his  plates  is  wonderful. 

The  date  of  his  death  is  not  known,  but  his  finest  works  were 
produced  between  the  years  1589  and  1625. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  III.,  pp.  263-294. 

Saint  yohn  Baptizing  yesus  Christ  in  the  River 

yordan. 

Bartsch,  No.  3. 
From  his  own  design. 

MATHAM,  JACOB.    [Dutch  School,  1571-1631.J 

Born  at  Haarlem  in  1571.  Step-son  and  pupil  of  Hendrik 
Goltzius.  He  made  a  journey  to  Italy,  and  while  in  that  country 
engraved  several  plates  after  the  works  of  the  most  eminent  Italian 
masters. 

Upon  his  return  to  Haarlem  he  worked  under  the  direction  of 
Goltzius,  and  executed  a  great  variety  of  prints  after  some  of  the 
best  painters  of  the  Netherlands.  His  engravings  number  over  300 
plates. 

He  died  at  Haarlem  in  1631. 
ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  III.,  pp.  131-213. 

yudith  IVith  the  Head  of  Holof ernes. 

Bartsch,  No.  254. 

Engraved  after  a  design  by  Hendrik  Goltzius. 

One  of  a  series  of  four  plates  representing  the  four  principal 
heroes  and  heroines  of  the  Old  Testament. 

First  state,  before  the  addition  of  the  inscription,  "  J.  C. 
Visscher  Ex."  beside  the  monogram  of  Goltzius. 

GALLE,  CORNELIS  (The  Elder).  [Dutch  School,  1576-1656.] 

Born  at  Antwerp  in  1576. 
Pupil  and  son  of  Philipp  Galle. 

Following  the  example  of  his  brother  Theodoor,  Cornells  Galle 
visited  Rome,  where  he  resided  for  several  years,  and  where  he 


49 


acquired  a  correctness  of  design  and  a  freedom  of  execution  in 
which  he  greatly  surpassed  both  his  father  and  his  brother. 

Having  engraved  several  plates  at  Rome,  after  the  Italian 
masters,  he  returned  to  Antwerp,  where  he  carried  on  the  business 
of  a  print-seller,  and  engraved  a  number  of  plates  after  the  works 
of  his  countrymen  and  after  his  own  designs. 

He  died  in  1656. 

Saint  Dominic. 

Engraved  from  his  own  design. 


VORSTERMAN,  LUCAS.     [Dutch  School,  1578-1660.] 
Born  at  Antwerp  in  1578. 

He  first  studied  painting  in  the  school  of  Rubens,  but  was  ad- 
vised by  his  master  to  devote  himself  entirely  to  engraving.  This 
he  did,  and,  under  the  direction  of  Rubens,  became  one  of  the  best 
engravers  of  his  time. 

Vorsterman  visited  England  in  the  reign  of  Charles  L,  and 
lived  there  from  1624  to  1631,  being  employed  by  the  King  and  by 
Thomas  Howard,  Earl  of  Arundel.  He  engraved  fine  portraits  of 
both  his  patrons. 

Vorsterman  returned  to  Antwerp  in  1631  and  died  about  1660. 

Portrait  of  Desiderius  Erasmus,  of  Rotterdam. 

After  the  painting  by  Hans  Holbein.  (Nagler,  Kiinstler-Lexi- 
con  XX.,  p.  540.    No.  30.) 

See  remarks  upon  Albert  Diirer's  portrait  of  Erasmus. 


SWANENBURCH,  WILLEM  VAN.    [Dutch  School, 

1580-1612.] 

Born  at  Leyden  about  1580.  Brother  of  Jakob  Isaaksz  van 
Swanenburch,  whose  greatest  claim  to  our  remembrance  is  that 
he  was  the  first  master  of  Rembrandt. 

Willem's  style  of  engraving  is  bold,  and  his  prints  bear  some 
resemblance  to  those  of  Hendrik  Goltzius. 

He  died  at  Leyden,  on  the  15th  of  August,  1612. 


5° 

The  Murder  of  Caracalla. 

M.  Aurelius  Antoninus,  commonly  called  Caracalla,  from  the 
long  tunic  he  wore  after  the  manner  of  the  Gauls,  was  Emperor  of 
Rome  from  2 1  t  to  217  a.d. 

His  reign  was  marked  by  a  succession  of  cruelties  and  extrava- 
gances. He  assassinated  his  brother  Geta  and  caused  the  death 
of  many  of  the  most  distinguished  men  of  his  time,  including  the 
celebrated  Jurist  Papinian. 

He  was  murdered  at  Edessa  by  Macrinus. 

GOUDT,  HENDRIK  VAN.    [Dutch  School,  1585-1630.] 

Count  Palatine,  amateur  painter  and  engraver.  Born  at 
Utrecht  in  1585.  Died,  according  to  some  writers  from  the  effects 
of  poison,  about  1630.  When  young,  he  went  to  Rome  to  study 
art,  and  in  that  city  met  Abraham  Elsheimer,  the  painter,  whose 
most  liberal  patron  he  became,  and  after  whose  works  his  seven 
plates  were  engraved. 

These  plates  are  engraved  in  a  style  peculiar  to  himself. 
They  are  wrought  entirely  with  the  graver,  and  their  extraordinary 
effect  is  produced,  not  by  the  usual  method  of  deepening  and 
strengthening  the  strokes,  but  by  delicately  crossing  and  recrossing 
the  lines  several  times  in  the  shadows.  Though  his  plates  are 
finished  with  a  most  remarkable  precision,  they  show  a  surpris- 
ingly free  and  dexterous  handling  of  the  graver. 

Jupiter  and  Mercury  as  Guests  of  Philemon 
and  Baucis. 

A  picture  nearly  corresponding  in  subject  to  this  engraving  is 
in  the  Dresden  Gallery.    Hiibner's  Verzeichniss,  No.  1723. 

The  Dawn  of  Day. 

DE  PASSE,  CRISPIN    (The  Younger).    [Dutch  School, 

1585-1660.  (?)] 

Born  in  Utrecht  in  1585.  The  eldest  son  and  the  pupil  of 
Crispin  De  Passe,  the  elder. 

The  date  of  his  death  is  not  known,  but  he  was  alive  in  1659. 


5i 

Saint  Martha. 

Engraved  from  his  own  design. 


BOLSWERT,  SCHELTE  A.    [Dutch  School,  1586-1659.] 

Born  at  Bolswert,  in  Friesland,  about  1586.  Brother  of  Boetius 
Adam  a  Bolswert,  with  whom  he  settled  in  Antwerp,  where  he  be- 
came one  of  the  most  celebrated  engravers  of  his  country. 

He  died  in  Antwerp  in  1659. 

His  finest  engravings  are  after  the  paintings  of  Rubens  and 
Van  Dyck.  It  is  said  that  Rubens  often  retouched  proofs  of  the 
plates  engraved  after  his  pictures,  and  that  these  corrections  con- 
tributed not  a  little  to  the  expression  and  merit  of  the  finished 
plates  by  Schelte  a  Bolswert. 

Bolswert  engraved  with  equal  success  historical  subjects, 
landscapes,  hunting  scenes  and  portraits.  The  number  of  his 
plates  is  very  considerable. 

The  Great  Lion  Hunt. 

From  the  painting  by  Peter  Paul  Rubens.  The  original 
picture  is  in  the  Munich  Gallery.  Smith.  Cat.rais.24y.  Waagen. 
Handb.  II,  p.  272. 


LASNE,  MICHEL.    [French  School,  1596-1667.] 

Born  at  Caen,  in  Normandy,  in  1596.  He  appears  to  have 
imitated  the  style  of  Cornelis  Bloemaert  and  F.  Villamena.  He 
died  in  Paris  in  1667. 

Lasne  was  one  of  the  first  of  the  French  engravers  to  dis- 
tinguish himself  by  a  free  and  dexterous  management  of  the  burin. 

He  was  very  industrious  and  engraved  a  number  of  plates. 

The  Virgin  and  Child  in  the  Clouds,  Attended  by 
Angels,  Appearing  to  Saint  Francis. 

From  the  painting  by  Simon  Vouet. 
Engraved  in  1637. 


52 


VAN  DYCK,  ANTONI.    [Flemish  School,  1599-1641.] 

Born  at  Antwerp  on  March  22,  1599.  He  was  the  seventh  child 
of  a  family  of  twelve.  His  father,  Frans  Van  Dyck,  was  a  silk 
merchant,  and  his  mother,  Maria  Cuypers,  was  famous  as  an 
amateur  flower  painter  and  embroiderer.  Van  Dyck  was  ap- 
prenticed to  Hendrik  van  Balen  when  but  ten  years  of  age,  and 
in  16 15  entered,  as  pupil,  the  studio  of  Rubens,  remaining  with 
this  master  as  a  pupil  until  1620,  when  he  was  engaged  as  an  as- 
sistant. In  16 18  Van  Dyck  was  admitted  into  the  Guild  of  St.  Luke 
at  Antwerp,  and  three  years  later  paid  a  brief  visit  to  England,  and 
worked  in  the  service  of  Charles  I.,  from  whom  he  received  ^100  for 
special  services. 

Towards  the  close  of  1622  he  returned  to  Antwerp  and  in  1623, 
by  the  advice  of  Rubens,  set  out  for  Italy.  Here  he  stayed  princi- 
pally in  Genoa,  but  visited  also  Rome,  Venice  and  Palermo,  execut- 
ing many  important  works. 

Upon  his  return  to  Antwerp  in  1626,  Van  Dyck  became,  at 
once,  famous  as  a  portrait  painter  and  was  deluged  with  commis- 
sions. 

It  was  about  this  time  that  he  painted  the  famous  series  of 
portraits  of  eminent  artists  of  his  time.  This  series  has  never  been 
equalled  for  the  admirable  variety  of  attitudes  and  the  character- 
istic expression  of  the  heads.  They  were  engraved  by  the  most 
eminent  artists  of  the  time,  Vorsterman,  Bolswert,  Pontius  and 
others,  and  several  of  them  were  etched  by  Van  Dyck  himself. 

In  1630  Van  Dyck  went  from  the  Hague — whither  he  had  been 
invited  by  the  Prince  of  Orange — to  London,  but  not  meeting  with 
much  encouragement  there,  returned  to  Antwerp.  Two  years 
later,  Charles  I.,  seeing  one  of  Van  Dyck's  portraits,  discovered 
how  great  an  artist  had  left  his  kingdom  and  dispatched  Sir  Kenelm 
Digby  to  request  the  painter  to  return.  Van  Dyck  was  graciously 
received  by  the  King,  who  gave  him  apartments  at  Blackfriars, 
and  bestowed  upon  him  the  honor  of  Knighthood  on  July  5,  1632, 
and  in  the  next  year  granted  him  an  annual  pension  of  ^200. 

Van  Dyck  lived  in  almost  royal  manner  in  London  and  at 
his  summer  home  in  Eltham,  and  continued  to  be,  until  his  death, 
which  occurred  at  Blackfriars  on  December  9,  1641,  the  favorite 
painter  in  England,  not  only  of  the  King  but  of  nearly  all  the 
famous  men  and  women  of  his  time.  He  is  said  to  have  received 
about  £60  for  his  full-length,  and  ^40  for  his  half-length  portraits. 


WILLIAM     HOOKHAM    CARPENTER,     "  PICTORIAL    NOTICES  OF 
ANTHONY  VAN  DYCK." 


53 


HERMANN  WEBER,  "CATALOGUE  RAISONNE  D'UNE  COLLECTION 
DE  PORTRAITS  GRAVES  PAR  ET  D'APRES  ANTOINE  VAN  DYCK." 

FR.  WIBIRAL,  "  L'ICONOGRAPHIE  D'ANTOINE  VAN  DYCK."' 

"  No  true  critic  can  be  indifferent  to  Vandyke.  He  is  one  of 
the  great  princes  of  the  art,  a  royal  master  who  is  to  be  spoken  of 
only  with  the  most  profound  respect.  He  had  all  the  great  qualities  ; 
he  had  perfect  freedom  and  exquisite  refinement  ;  he  used  the 
needle  with  admirable  ease  and  grace,  and  his  masterly  force  was 
restrained  and  tempered  with  a  cultivated  severity.  ...  Of 
Vandyke  himself  as  an  etcher,  little  more  is  to  be  said  than  the  few 
sentences  already  written.  His  aims  were  few,  his  choice  of  means 
instinctively  wise  and  right,  his  command  of  them  absolute,  his 
success  complete."  (P.  G.  Hamerton,  "Etching  and  Etchers,"  pp. 
107-108.) 

Portrait  of  Pieter  Brueghel,    The  Younger. 

Wibiral,  No.  2.    Carpenter,  No.  2.    Weber,  p.  22. 

Fifth  state,  with  the  word  AcTiONVM,and  with  the  address  G.  H. 
removed.  A  picture  corresponding  with  this  print  is  in  the  collec- 
tion of  the  Earl  of  Egremont.    See  Smith.    Cat.  rais.  No.  789. 

Pieter  Brueghel,  the  younger,  called  "  Hollen  Brueghel  "  (Hell 
Brueghel)  from  the  eccentric  subjects  he  painted,  was  born  at 
Brussels  in  1564.  He  was,  as  a  painter,  far  inferior  to  his  father, 
but  was  registered  as  a  master  at  Antwerp  in  1585,  and  died  there 
in  T638. 

Portrait  of  Antoni  Van  Dyek. 

Wibiral,  No.  4.    Carpenter,  No.  4.    Weber,  p.  23. 

First  state,  with  the  head  alone  etched  and  the  collar  indicated. 

Of  the  extremest  rarity. 

The  original  picture  is  in  the  Uffizi  Gallery,  Florence. 

Portrait  of  Antoni  Van  Dyek. 

Wibiral,  No.  4.    Carpenter,  No.  4.    Weber,  p.  23. 
Third  state,  with  the  address  of  Gillis  Hendricx,  but  after 
the  erasure  of  A°    1645  following  the  word  Excudit. 

The  plate  was  finished   with  the   burin   by  Jacob  Neeffs. 


54 


Jacob  Neeffs  was  born  at  Antwerp  in  1630.  He  was  probably  the 
grandson  of  Pieter  Neeffs,  the  painter,  and  distinguished  himself  by 
the  plates  he  engraved  after  Rubens,  Van  Dyck  and  other  cele- 
brated painters  of  the  Flemish  School.  The  date  of  his  death  is  un- 
known. 

The  Grisaille  for  this  engraving  was  in  the  collection  of  the 
Duke  of  Buccleuch. 

Portrait  of  Frans  Franck. 

Wibiral,  No.  6.    Carpenter,  No.  6.    Weber,  p.  24. 

Sixth  state,  with  the  name  changed  from  Vranx  to  Franck, 
and  with  the  address  G.  H.  erased. 

"  Observe  the  masterly  indication  of  the  irregular  moustache 
and  small  beard,  and  the  flowing  lines  of  the  mantle."  (P.  G. 
Hamerton,  "  Etching  and  Etchers,"  p.  109.) 

Frans  Franck  (or  Francken)  was  the  younger  son  of  Frans 
Franck,  the  elder,  and  was  born  at  Antwerp  in  1581.  He  was  a 
pupil  of  his  father,  whose  style  he  followed  for  some  time.  Later 
he  visited  Italy,  residing  chiefly  at  Venice,  where  he  studied  the 
works  of  the  great  colorists  of  that  school. 

After  an  absence  of  three  years  he  returned  to  Antwerp,  and 
in  1605  was  received  into  the  Guild  of  St.  Luke,  of  which  he  was 
Dean  in  1614-15.    He  died  at  Antwerp  in  1642. 

Portrait  of  Adam  van  Noort. 

Wibiral,  No.  8.    Carpenter,  No.  9.    Weber,  p.  28. 

Third  state,  before  the  title,  but  with  the  pillar  or  wall  behind. 
Extremely  rare. 

Adam  van  Noort  was  the  son  of  Lambert  van  Noort,  and  was 
born  at  Antwerp  in  1557.  He  was  the  teacher  of  his  son-in-law 
Jordaens,  and  of  Rubens. 

Undoubted  examples  of  Van  Noort's  paintings  are  very  rare. 
They  are  probably  catalogued  in  many  instances  as  the  work  of 
his  pupils.    He  died  at  Antwerp  in  1641. 

Portrait  of  Paul  Pontms  or  du  Pont. 

Wibiral,  No.  9.    Carpenter,  No.  10.    Weber,  p.  29. 
Sixth  state,  with  the  word  AntuerpijE,  and  after  the  removal 
of  the  address  G.  H. 

Paul  du  Pont,  better  known  as  Paul  Pontius,  was  born  at 


55 


Antwerp  in  1603.  He  was  instructed  in  the  art  of  engraving  by 
Lucas  Vorsterman,  but  improved  his  style  under  the  direction  of 
Rubens,  from  whose  works  he  engraved  numerous  fine  plates.  He 
was  not  less  successful  in  the  admirable  portraits  he  engraved  after 
Van  Dyck,  and  though  he  did  not  possess  the  facility  of  Bolswert 
or  the  delicacy  of  Vorsterman,  his  plates  are  considered  as  being 
among  the  finest  productions  of  the  Flemish  school  of  engraving. 
He  died  in  1658. 

Portrait  of  Justus  Suttermans. 

Wibiral,  No.  12.    Carpenter,  No.  17.    Weber,  p.  32. 

Fifth  state,  with  the  name  changed  from  Iudocus  Citermans 
to  Iustus  Svtterm ans,  and  with  the  address  G.  H.  erased. 

"  There  is  much  nobility  in  the  well-set,  intelligent  head,  but 
the  wonder  of  execution  in  this  portrait  is  the  costume,  especially 
on  Suttermans'  left  shoulder,  where  the  lightness  of  the  lace  collar 
contrasts  with  the  firm  and  elaborate  drawing  of  the  gatherings  of 
the  cloth.  Observe  the  good  sketching  of  the  right  hand,  and  the 
way  in  which  the  finish  of  the  left  shoulder  passes  gradually  into 
free  and  loose  indication  below  the  waist."  (P.  G.  Hamerton, 
"  Etching  and  Etchers,"  p.  109.) 

Justus  Suttermans  was  born  at  Antwerp  in  1597.  He  was  a 
pupil  of  Willem  de  Vos,  in  that  city,  and  of  Francois  Porbus,  the 
second,  in  Paris. 

He  travelled  through  Germany  to  Venice,  and  afterwards 
went  to  Florence,  where  his  abilities  attracted  the  attention  of 
Cosmo  II.,  Grand  Duke  of  Tuscany,  who  appointed  him  his  painter 
and  in  whose  service  he  remained  until  the  death  of  that  prince. 
Cosmo  III.  continued  the  favor  and  protection  extended  by  his 
predecessor,  and  Suttermans  remained  in  Florence  until  1623,  when 
he  was  summoned  to  Vienna  to  paint  the  portraits  of  the  Emperor 
and  Empress  of  Germany,  and  returned  to  Florence  with  a  patent 
of  nobility.  He  died  in  Florence  in  1681.  As  a  portrait  painter 
Suttermans  was  little  inferior  to  Van  Dyck,  who,  when  visiting 
Florence,  expressed  great  admiration  for  the  works  of  Suttermans. 

Portrait  of  Lucas  Vorsterman. 

Wibiral,  No.  14.    Carpenter,  No.  19.    Weber,  p.  33. 
Fifth  state,  with  the  background  engraved,  and  after  the  re- 
moval of  the  address  G.  H.  from  the  margin. 


56 

From  the  collection  of  W.  B.  Scott,  author  of  "  The  Life  of 
Diirer." 

This  plate  is  usually  considered  to  be  the  finest  of  all  Van 
Dyck's  etched  portraits.  Drugulin  describes  a  proof  retouched 
in  pencil,  probably  by  Van  Dyck  himself,  as  a  suggestion  for  some 
changes  which,  however,  were  never  made,  but  which  would  cer- 
tainly, in  the  estimate  of  Drugulin,  have  been  an  improvement. 

"  The  execution  of  the  portrait  itself,  including  the  drapery, 
is  quite  magnificent,  but  the  background  is  rather  unfortunate  in 
its  formality.  .  .  .  Whenever  Van  Dyck  falls  into  anything 
like  mechanism,  it  is  sure  to  be  in  a  background.  ...  In  the 
portrait  of  Vorsterman  the  hair  is  very  free  and  beautiful,  and 
there  are  some  remarkably  fine  darks  in  the  drapery,  especially  to 
the  left  side."    (P.  G.  Hamerton,  "  Etching  and  Etchers,"  p.  109.) 

(See  Biographical  Note  under  Vorsterman^) 


CLAUDE  GELLEE  DE  LORRAINE.     [French  School, 

1600-1682.] 

Born   in   1600  at  Chamagne,  near  Charmes,  department  of 

Vosges. 

His  parents,  who  were  very  poor,  apprenticed  him  at  an  early 
age  to  a  pastry  cook.  When  the  term  of  his  apprenticeship  had 
expired,  he  engaged  as  a  valet  to  a  company  of  young  artists,  and 
with  them  travelled  to  Rome.  Soon  after  his  arrival,  determined 
to  become  an  artist,  he  entered  the  service  of  Agostino  Tassi  as 
pupil  and  general  factotum. 

In  the  spring  of  1625  Claude  left  Rome  and  started  upon  his 
travels,  not  returning  again  to  that  city  until  1627.  For  the  next 
ten  years  he  would  seem  to  have  devoted  himself  entirely  to  art, 
but  we  hear  little  of  him  until  he  attracted  the  attention  of  Cardinal 
Bentivoglio,  who  introduced  him  to  Pope  Urban  VIII. 

Henceforth  his  position  was  assured  and  his  life  ran  smoothly 
until  he  died  in  1682. 

As  an  etcher  his  plates  are  uneven  in  merit.  They  number 
forty-two.  Good  proofs  are  eagerly  sought  for  and  are,  conse- 
quently, rare. 

"  His  superiority  as  an  etcher  is  chiefly  a  technical  superiority  ; 
he  could  lay  a  shade  more  delicately,  and  with  more  perfect  grada- 
tion, than  any  other  etcher  of  landscape  ;  he  could  reach  rare 
effects  of  transparency,  and  there  is  ineffable  tenderness  in  his 


57 


handling.  These  are  his  chief  claims  to  our  consideration,  and  he 
is  so  strong  on  these  points  that  such  accomplished  moderns  as 
Haden  and  Samuel  Palmer  have  a  great  reverence  for  his  name.  Add 
to  these  qualities  a  certain  freedom  and  spirit  in  his  lines  which 
served  him  well  in  near  masses  of  foliage,  and  a  singularly  perfect 
tonality  in  one  or  two  remarkable  plates,  and  you  have  the  ground 
of  his  immortality  as  an  etcher.  He  was  great  in  this  sense  but 
not  great  in  range  of  intellectual  perception,  and  his  genius  at  the 
best  is  somewhat  feminine.  He  has  left  a  few  unimportant  and 
weak  etchings,  but  he  has  also  left  half  a  dozen  masterpieces  which 
the  severest  criticism  must  respect.  One  merit  of  his  is  not  com- 
mon in  his  modern  successors — the  extreme  modesty  of  his  style  ; 
no  etcher  was  ever  less  anxious  to  produce  an  impression  of  clever- 
ness and  his  only  object  seems  to  have  been  the  simple  rendering 
of  his  ideas.  He  sincerely  loved  beauty  and  grace  and  tried  in- 
nocently for  these  till  his  touch  became  gentler  than  that  of  a 
child's  fingers,  yet  so  accomplished  that  the  stubborn  copper  was 
caressed,  as  it  were,  into  a  willing  obedience."  (P.  G.  Hamerton, 
"  Etching  and  Etchers,"  pp.  157-158.) 

A.  P.  F.  ROBERT-DUMESNIL,   "  LE   PEINTRE  GRAVEUR  FRANC/AIS," 
Vol.  I.,  pp.  3-38. 

PHILIP    GILBERT    HAMERTON,    41  ETCHING   AND    ETCHERS,"  pp. 
157-160. 

La  Fuitc  en  Egypte. 

Robert-Dumesnil,  No.  1. 
Third  state. 

Le  Passage  du  Gue, 

Robert-Dumesnil,  No.  3. 
Second  state. 

La  Danse  au  Bord  de  L'Eau. 

Robert-Dumesnil,  No.  6. 
Second  state.  Rare. 


58 

La  Danse  Sous  les  Arbres. 

Robert-Dumesnil,  No.  10. 
Second  state.  Rare. 

This  plate  is  remarkable  for  the  richness  of  the  foliage  and  for 
the  freedom  with  which  it  is  etched. 

Le  Po?it  de  Bois. 

Robert-Dumesnil,  No.  14. 
Second  state. 

Le  Soleil  Couchant. 

Robert-Dumesnil,  No.  15. 
Third  state.  Rare. 

"  This  etching  is  remarkable  for  the  inexpressible  tenderness 
of  its  sky.  When  heretics  and  unbelievers  say  that  skies  cannot  be 
done  in  etching,  it  is  always  convenient  to  answer  them  with  a 
reference  to  this  plate  ;  but  the  truth  is,  that  although  the  sky  is 
marvellously  tender,  and  in  that  respect  undoubtedly  the  finest  ever 
etched,  the  cloud-forms  are  so  simple  and  so  little  denned  that 
Claude's  success  in  this  instance  has  not  solved  more  than  one  of 
the  great  sky-problems."  (P.  G.  Hamerton,  "  Etching  and  Etchers," 
P-  I59-) 

"This  admirable  composition,  the  masterpiece  of  the  artist." 
(Robert-Dumesnil,  "  Le  Peintre  Graveur  Francais,"  Vol.  I.,  p.  19.) 

Le  Depart  pour  les  Champs. 

Robert-Dumesnil,  No.  16. 
Second  state.  Rare. 

Le  Troupeau  en  March  par  un  Temps  Orageux. 

Robert-Dumesnil,  No.  18. 

First  state  (before  the  lines  in  the  sky).    Very  rare. 

"  Claude  seems  to  have  had  a  sensitive  and  delicate  nature, 
more  capable  of  enjoying  the  softly  gradated  sky  of  a  fine  after- 
noon than  the  grandeur  of  gathering  storm.  The  sky  here  is  curi- 
ously feeble  and  ineffectual,  but  the  etching  is  one  of  Claude's 
best,  and  especially  deserves  to  be  studied  for  the  piece  of  ruined 


59 


temple,  which  is  etched  more  firmly  and  substantially  than  any 
other  piece  of  architecture  by  him."  (P.  G.  Hamerton,  "  Etching 
and  Etchers,"  p.  159.) 

Berger  et  Bergere  Conversant. 

Robert-Dumesnil,  No.  21. 

"  Not  so  rich  in  tone  as  some  other  etchings  by  Claude,  but  free 
and  grand  in  manner.  The  trees  to  the  right  have  a  stately  grace, 
and  there  is  an  extreme  elegance  in  the  tree  that  divides  the  com- 
position. There  are  some  rolling  clouds,  and  there  is  little  repose 
in  the  unquiet  lines  of  the  foreground  ;  but  the  shepherd  and 
shepherdess  can  have  their  talk  without  paying  much  heed  to  so 
finely  artistic  a  consideration."  (P.  G.  Hamerton,  "Etching  and 
Etchers,"  p.  160.) 

"A  superb  landscape."  (Robert-Dumesnil,  "  Le  Peintre 
Graveur  Francais,"  Vol.  I.,  p.  25.) 

Les  Trots  Chevres. 

Robert-Dumesnil,  No.  26. 

First  state,  before  the  margins  were  cleaned. 

MELLAN,  CLAUDE.    [French  School,  1601-1688.] 

Painter  and  engraver.  Born  at  Abbeville  in  1601.  Pupil  of 
Simon  Vouet.  When  sixteen  years  of  age  he  went  to  Rome,  and 
there  studied  under  Villamena — at  that  time  the  most  esteemed 
engraver  in  Italy.  In  Rome,  Mellan  acquired,  before  long,  the 
reputation  of  being  one  of  the  ablest  burinists  of  his  time. 

Many  of  his  later  plates  are  engraved  in  parallel  lines  (con- 
trary to  the  usual  method,  where  the  effect  is  produced  by  crossed 
lines),  thereby  securing  results  that  are  clear,  soft  and  agreeable. 

M.  Perrault,  in  his  work,  "  Les  Hommes  illustres  qui  ont  paru 
pendant  ce  siecle,"  says  that  Mellan's  art  was  such  that  he  could 
give,  in  his  engravings,  when  working  from  the  paintings  or  de- 
signs of  other  artists,  an  air  of  life  and  freedom  lacking  in  the 
original. 

Mellan  died  at  Paris  on  the  9th  of  September,  t688,  and  lies 
buried  in  the  Church  of  St.  Germain-l'Auxerrois. 

CATALOGUE  RAISONNE*  DE  L'CEUVRE  DE  CLAUDE  MELLAN  D'ABBE- 
VILLE,  PAR  M.  ANATOLE  DE  MONTAIGLON. 


6o 


The  Virgin  and  Infant  Jesus. 

Montaiglon,  No.  12. 

Second  state.    Engraved  from  his  own  design.    Not  dated. 
The  plate  existed  at  the  latter  part  of  the  last  century.  Impres- 
sions printed  from  it  at  that  time  bear  the  address  of  Bligny. 

The  Holy  Family. 

Montaiglon,  No  13. 

Engraved  in  1635  from  his  own  design. 

Third  state  ;  with  the  coat  of  arms  of  Bishop  Beaumanoir,  and 
the  words  "  Cum  privilegio  Regis  "  after  the  engraver's  name. 

The  first  state  is  before  the  arms  ;  second  state  with  the  arms, 
but  before  the  words  "  Cum  privilegio  Regis."  In  the  fourth  state 
the  arms  are  effaced  and  the  place  on  the  copper  where  they  were 
is  shaded. 

Saint  Peter  Nolasque  Supported  by  Two  Angels. 

Montaiglon,  No.  90. 

Engraved  in  1627  from  his  own  design.    Only  state. 

The  original  plate  was  designed  and  engraved  in  Rome,  where 
Mellan  printed  only  a  few  impressions.  The  plate  was  then  sent  to 
Paris,  by  sea,  but  the  vessel  upon  which  it  was,  was  wrecked  and 
the  plate  lost. 

"  One  of  the  finest  and  rarest  prints  of  the  artist."  (Bryan's 
"  Dictionary  of  Painters  and  Engravers.") 

Hercules  and  Atlas. 

Not  described  by  Montaiglon.    Not  dated. 
Engraved  from  his  own  design. 

DE  JODE,  PIETER  (The  Younger).  [Flemish  School,  1606- 

not  known.] 

Born  at  Antwerp  in  1606. 

A  pupil  of  his  father,  Pieter  de  Jode,  the  elder,  whom  he 
surpassed  in  the  taste  and  facility  with  which  he  handled  the 


6i 


graver.    He  engraved  more  than  three  hundred  plates,  unequal  in 
merit,  the  best  being  portraits  after  the  paintings  of  Van  Dyck. 
The  date  of  his  death  is  not  known. 


Saint  Francis  and  Saint  Clara  Adoring  the 


Andresen,  No.  3. 

From  the  design  of  Gerard  Seghers. 


HOLLAR,  WENCESLAUS.    [German  School,  1607-1677.] 
Born  at  Prague  in  1607. 

He  was  of  an  ancient  family  and  was  educated  for  the  law,  but 
not  liking  that  profession,  and  his  family,  at  the  taking  of  Prague 
in  1619,  losing  all  they  possessed,  he  became  a  pupil  of  Matthaus 
Merian  at  Frankfort.  He  travelled  through  Germany  later,  making 
sketches  and  engravings  of  the  various  cities  he  saw,  and  his  views 
of  Strasbourg,  Frankfort,  Cologne  and  Mayence  are  much  admired. 

In  1636  he  was  taken  into  the  employment  of  the  Earl  of 
Arundel,  who  was  then  Ambassador  to  Ferdinand  II.,  and  upon  the 
return  of  that  nobleman  to  England,  in  1637,  Hollar  came  with 
him. 

He  engraved  a  number  of  plates  of  portraits  and  figures,  but  his 
labors  were  interrupted  by  the  outbreak  of  the  Civil  War,  in  which 
he  espoused  the  cause  of  the  Royalists  and  was  made  a  prisoner  at 
Basing  House  in  1645. 

Upon  regaining  his  liberty  he  removed  to  Antwerp,  whither 
the  Earl  of  Arundel  had  withdrawn,  but  upon  the  death  of  that 
patron,  not  finding  remunerative  work,  he  returned  to  England  in 
1652,  but  though  he  was  continually  employed  the  low  prices  he 
received  for  his  works  barely  supported  him.  Ill  fortune  seems  to 
have  followed  him  continuously  from  this  time  forward.  The  plague 
and  the  great  fire  of  London  put  all  thoughts  of  art  out  of  the 
heads  of  the  people,  and  though  Hollar  was  sent,  about  this  time, 
to  Africa  in  the  capacity  of  His  Majesty's  draughtsman,  to  make 
drawings  of  the  town  of  Tangier  and  adjacent  country,  he  was, 
upon  his  return,  but  illy  paid  for  his  labor  and  expenses. 

In  1672  he  travelled  to  the  north  of  England,  making  drawings 


Jesus. 


62 


of  Lincoln,  Southwell,  Newark,  York  Minster  and  other  places,  but 
returned  to  London,  where  he  died  in  1677. 

We  are  told  that  his  poverty,  at  the  close  of  his  life,  was  so 
great  that  in  his  last  illness  the  only  piece  of  furniture  remaining 
when  the  bailiffs  entered  the  room  to  take  possession,  was  the  bed 
upon  which  he  lay. 

His  engravings  number  2733  ;  some  of  them  are  now  extremely 
rare  and  command  large  prices. 

GUSTAV  PARTHEY,  "  WENZEL  HOLLAR." 

A  Woman  of  Strasbourg. 

Parthey,  No.  1935. 
Etched  in  1643. 

A  Stag. 

Parthey,  No.  2092. 
Etched  in  1649. 

From  a  drawing  by  Albert  Dlirer. 


REMBRANDT  HARMENSZ  VAN  RIJN.   [Dutch  School, 

1606-1669.] 

Born  at  Leyden,  July  15,  1606. 

He  was  the  fifth  of  six  children,  but  his  father,  Harmen  van 
Rijn,  being  in  comfortable  circumstances,  determined  that  his  son 
should  have  a  good  education.  Rembrandt  was,  accordingly,  sent 
to  the  College  of  Leyden,  but  left  that  institution  before  he  had 
advanced  very  far  in  his  studies,  in  order  that  he  might  follow  his 
strong  inclination  for  art. 

His  first  master  was  Jacob  van  Swanenburch,  with  whom  he 
stayed  for  three  years,  and  under  whose  instruction  he  made  such 
good  progress  that  in  1622,  being  then  only  fifteen  years  of  age,  he 
was  placed  by  his  father  at  the  more  famous  studio  of  Pieter  Last- 
man,  in  Amsterdam.  Here  he  remained  for  six  months,  at  the  end 
of  which  time  he  removed  to  the  studio  of  Jacob  Pinas. 

In  1623  Rembrandt  returned  to  his  home  at  Leyden,  and  for 
the  next  seven  years  is  supposed  to  have  worked  there  steadily. 
In  1628  he  received  Gerard  Dow  as  his  pupil  and  in  1630  removed 
to  Amsterdam,  in  which  city  he  resided  until  his  death. 


63 


In  Amsterdam  he  seems  soon  to  have  acquired  a  considerable 
reputation,  and  his  famous  painting,  "The  Lesson  in  Anatomy" — 
his  first  corporation  picture — was  painted  in  1632. 

Two  years  later — on  June  10,  1634 — Rembrandt  married  Saskia 
van  Ulenburgh,  a  member  of  a  good  Friesland  family  and  well  con- 
nected. 

At  the  time  of  her  marriage  Saskia  was  twenty-two  years  of 
age,  and  Rembrandt  twenty-seven. 

To  them  were  born  four  children,  but  one  of  whom,  Titus,  was 
living  at  the  time  of  Saskia's  death  in  June,  1642.  Titus  became, 
later,  a  pupil  of  his  father,  but  died  in  March,  1669,  seven  months 
before  the  death  of  Rembrandt. 

In  1642  Rembrandt  purchased  a  large  house  in  the  Breed 
Straat,  probably  with  the  money  left  to  him  by  his  mother, 
who  had  died  two  years  previously.  In  this  house  he  lived  for 
many  years,  filling  it  with  works  of  art  of  all  kinds.  This  taste  for 
collecting  was,  seemingly,  one  of  the  causes  of  his  bankruptcy  in 
July,  1656.  Of  the  extent  and  variety  of  his  collections  we  may 
judge  from  the  inventory  (Ch.  Blanc,  Vol.  I,  pp.  39-54),  made  at 
the  time  of  his  being  declared  insolvent. 

After  the  sale  of  his  house  in  the  Breed  Straat,  Rembrandt 
took  one  on  the  north  side  of  the  Rosengracht.  Here  he  lived  with 
his  son  Titus,  until  the  latter  married  and  moved  to  the  Singel,  to 
the  house  in  which  he  died  a  few  months  later. 

In  1665  Rembrandt  married  Catharina  van  Wijck,  by  whom  he 
had  two  children,  both  living  at  the  time  of  his  death  in  October, 
1669. 

He  was  buried  in  the  Westerkerke  on  October  8th,  and  from  the 
accounts  we  have  of  the  expenses  of  the  funeral,  we  may  conclude 
that  it  was  an  affair  of  some  importance. 

"  Every  art  has  its  great  representative  master,  and  the  rep- 
resentative etcher  is  Rembrandt.  He  was  so  constituted,  and  he  so 
trained  himself,  as  to  become,  in  his  maturity,  the  most  consummate 
aqua-fortist  who  had  hitherto  appeared. 

....  Another  point  which  distinguishes  Rembrandt  from 
many  inferior  aqua-fortists,  is  his  manly  use,  on  due  occasion,  of  the 
frank  etched  line.  He  knew  the  beauty  and  the  value  of  it,  and 
was  so  far  from  trying  to  dissimulate  it  in  deference  to  popular 
taste,  that  he  laid  it  boldly  and  bare  wherever  he  saw  the  need  of 
it,  even  in  his  most  careful  and  elaborate  performances.  There  is 
only  one  Englishman,  Haden,  who  has  used  the  line  in  this  direct 
effectual  way,  and  Rembrandt  taught  him. 

....    He  was  a  robust  genius,  with  keen  powers  of  observa- 


64 


tion,  but  little  delicacy  or  tenderness  of  sentiment,  and  he  lacked  the 
feminine  element  which  is  said  to  be  necessary  to  poets.  He  un- 
derstood certain  classes  of  men  quite  thoroughly  and  drew  them 
with  the  utmost  perspicacity — men  with  whom  his  robust  nature 
had  sympathy.  He  had  an  extraordinary  apprehension  of  natural 
dignity  and  majesty,  proving  thereby  the  true  grandeur  of  his 
own  mind,  for  it  is  only  minds  of  a  very  high  order  that  see  the 
grandeur  of  men  who  enjoy  little  worldly  rank  and  consideration. 
Rembrandt  had  little  sensitiveness,  it  seems,  as  regards  the  delicate 
beauty  of  young  women,  but  he  understood — and  this  is  rarer — 
the  venerableness  of  some  old  ones."  (P.  G.  Hamerton,  "Etching 
and  Etchers,"  pp.  73-76-77.) 

"Rembrandt,  who  was  born  in  Holland  in  1606  and  died  there 
in  1669,  may  be  regarded  as  the  great  representative  etcher  for  all 
time.  He  did  not  originate  the  process  ;  but,  having  found  it  in  a 
crude  and  undeveloped  state,  he  carried  it  to  a  height  of  perfection 
which,  as  a  whole,  has  never  since  been  equalled. 

Notwithstanding  all  the  achievements  of  the  modern  school  in 
the  various  details  of  etching,  such  as  dry-point,  management  of 
the  aqua-fortis,  methods  of  printing,  and  so  forth,  it  is  probably 
true  that  every  one  of  these  refinements  of  the  art  was  known  and 
practiced  by  Rembrandt  himself.  He  knew  well  how  to  vary 
effects  by  different  styles  of  printing,  was  well  acquainted  with  the 
virtues  of  Japanese  and  verge  papers,  and  on  rare  occasions  he 
even  printed  proofs  on  satin."  (Frederick  Keppel,  "The  Modern 
Disciples  of  Rembrandt.") 

BARTSCH,  ADAM,  "  CATALOGUE  RAISONN^  DE   TOUTES  LES  EST- 
AMPES  QUI  FORMENT  L'CEUVRE  DE  REMBRANDT." 

BLANC,  CHARLES,  "  L'CEUVRE  COMPLET  DE  REMBRANDT." 

CLAUSSIN,  M.  LE  CHEV.  DE,  "CATALOGUE  RAISONNE  DE  TOUTES 
LES  ESTAMPES  QUI  FORMENT  L'CEUVRE  DE  REMBRANDT." 

HADEN,  F.  S.,  "THE  ETCHED  WORK  OF  REMBRANDT." 
HAMERTON,  P.  G.,  "ETCHING  AND  ETCHERS,"  SECOND  EDITION, 
pp.  73~96- 

HAMERTON,  P.  G.,  "REMBRANDT'S  ETCHINGS."  THE  PORTFOLIO, 
Jan.,  1894. 

WILSON,  THOMAS,   "A  DESCRIPTIVE  CATALOGUE  OF  THE  PRINTS 
OF  REMBRANDT." 


65 

Abraham  Sending  Away  Hagar. 

Ch.  Blanc,  No.  3.  Claussin,  No.  37. 

Bartsch,  No.  30.  Wilson,  No.  37. 

Only  state. 

Dated  1637,  and  signed. 

All  the  best  qualities  of  Rembrandt's  work — beauty  of  ex- 
pression and  composition,  delicacy  and  richness  of  work,  and 
masterly  distribution  of  light  and  shade — are  shown,  to  a  high 
degree,  in  this  print. 

The  patriarch  seems  sorry,  in  spite  of  himself,  to  send  away 
Hagar,  who  weeps  and  turns  away  her  face. 

Sarah's  joy  is  expressed  in  a  few  perfect  lines,  while  the  hesita- 
tion of  the  dog,  as  to  whether  he  will  remain  or  will  follow  young 
Ishmael,  is  of  real  assistance  to  the  composition.  Isaac,  the  cause 
of  all  the  trouble,  is  to  be  seen  in  the  shadow  by  the  inner  door. 

"This  is  one  of  the  most  perfectly  delicate  of  all  Rembrandt's 
etchings.  The  sureness  of  the  faint,  thin  lines  on  which  the  ex- 
pression of  the  faces  chiefly  depends,  the  masterly  reservation  of 
reflections  and  half-lights  in  open  shading,  the  opportune  omission 
of  labor  where  omission  was  better  than  toil,  justify  our  admira- 
tion. Observe  the  thoroughly  characteristic  drawing  of  Sarah's 
old  hands  and  grimly  satisfied  face  ;  the  strokes  are  so  few  that 
you  may  count  them,  and  so  thin  that  it  needs  clear  sight  even  to 
see  them.  The  face  of  Abraham  is  just  as  good,  and  the  beard  is 
indicated  with  a  dozen  strokes  towards  the  edge  of  it,  the  rest  be- 
ing left  to  the  imagination."  (P.  G.  Hamerton,  "  Etchings  and 
Etchers,"  pp.  82-83.) 

Joseph  Relating  His  Dream  to  His  Family. 

Ch.  Blanc,  No.  9.  Claussin,  No.  41. 

Bartsch,  No.  37.  Wilson,  No.  41. 

Second  state. 
Dated  1638,  and  signed. 

This  etching  was,  justly,  prized  in  Holland,  even  during 
Rembrandt's  lifetime.  To  fully  realize  the  merit  of  this  admirable 
composition,  in  which  thirteen  figures  are  so  well  grouped  in  so 
small  a  space,  one  must  recall  the  circumstances  attending  the  rela- 
tion, by  Joseph,  of  his  dream — his  brothers  envious  of  him,  but  his 
father  interested  and  impressed  by  Joseph's  words.  Note  what  a 
difference  there  is  between  the  attitude  of  the  father,  sunk  in  his 
chair,  and  in  his  surprise  allowing  his  hand  to  drop  limply  on  his 


66 


knee,  and  that  of  the  brothers,  all,  with  one  exception,  exhibiting 
the  same  feeling  in  various  ways.  Envy  and  hatred  fill  one, 
wounded  pride  another,  and  scornful  unbelief  a  third. 

Never,  perhaps,  has  an  etcher  so  fully  expressed  his  concep- 
tion, in  so  satisfying  a  way,  as  Rembrandt  here  has  done. 

The  very  essence  of  the  scene  is  caught  and  retained  without 
the  use  of  one  inexpressive  line. 


The  Triumph  of  Mordecai. 

Ch.  Blanc,  No.  12.  Claussin,  No.  44. 

Bartsch,  No.  40.  Wilson,  No.  44. 

Only  state. 

Mordecai,  attended  by  Haman,  is  being  conducted  in  triumph 
among  the  people,  who,  mindful  of  the  royal  injunction:  "Thus 
shall  it  be  done  unto  the  man  whom  the  King  delighteth  to  honour," 
exhibit  various  signs  of  respect  and  admiration.  Queen  Esther  and 
King  Ahasuerus  are  seated  behind  a  balcony,  while  in  the  fore- 
ground the  crowd,  in  which  may  be  seen  many  types,  from  the 
mother  with  a  young  child,  to  the  old  man  of  venerable  appearance, 
elbow  one  another,  curious  and  eager  to  see  and,  as  to-day,  look- 
ing for  a  new  sensation. 

The  effect  of  sunlight  in  this  composition  is  wonderfully  fine. 


David  Praying. 

Ch.  Blanc,  No.  13.  Claussin,  No.  45. 

Bartsch,  No.  41.  Wilson,  No.  45. 

Second  state. 
Dated  1652,  and  signed. 

Charles  Blanc  considers  this  print  to  be  (the  contrary 
opinions  of  Bartsch  and  Claussin  notwithstanding)  one  of 
Rembrandt's  best  works,  both  in  composition  and  lighting,  be- 
ing at  the  same  time  simple  in  execution  and  grand  in  conception. 

David,  the  rich  and  mighty  king,  is  here  shown  alone,  upon 
his  knees,  praying  and  weeping  in  the  presence  of  his  God.  What 
avail  riches,  power,  wisdom,  if  God  be  not  his  friend  ? 

Such  is  the  idea  expressed  in  this  impressive  little  print. 


6; 


Tobit  Struck  IVith  Blindness. 

Ch.  Blanc,  No.  15.  Claussin,  No.  46. 

Bartsch,  No.  42.  Wilson,  No.  46. 

Only  state. 

Dated  165 1,  and  signed. 

This  is  one  of  Rembrandt's  most  touching  plates.  The  ar- 
rangement of  the  interior,  showing  a  row  of  fish  drying  in  the 
chimney,  suggests  the  manner  of  life  of  Rembrandt  himself,  whose 
meal,  Houbraken  relates,  was  frequently  composed  of  a  little  cheese 
and  a  small  piece  of  smoked  herring. 

The  attitude  and  expression  of  Tobit  are  worthy  of  careful 
study.  They  are  those  of  a  man  struck  blind  and  not  at  all  those  of 
a  blind  man  knowing  his  limitations.  The  little  dog  too,  far  from 
trying  to  get  out  of  the  way,  as  most  commentators  have  said,  is, 
on  the  contrary,  trying  to  guide  his  master  to  the  door,  pushing 
him  gently  with  his  head  in  the  right  direction. 

" '  Tobit  Blind,  with  the  Dog'  is  a  work  in  which  the  mental 
conception,  which  is  most  pathetic,  is  everything,  and  the  manual 
performance  so  simple,  so  devoid  of  all  pretension,  that  it  requires 
some  knowledge  of  etching  to  recognize  the  strength  of  a  master." 
(P.  G.  Hamerton,  "Rembrandt's  Etchings,"  p.  44.) 

The  Annunciation  to  the  Shepherds. 

Ch.  Blanc,  No.  17.  Claussin,  No.  48. 

Bartsch,  No.  44.  Wilson,  No.  49. 

Fourth  state. 
Dated  1634,  and  signed. 

Two  proofs  only  are  known  in  the  first  state.  A  proof  in  the 
second  state  is  described  as  "  almost  unique."  Of  the  third  state  a 
proof  is  in  the  Museum  at  Amsterdam. 

Fine  proofs  of  this  plate  are  very  rare.  They  should  clearly 
show  the  arches  of  the  bridge,  as  this  proof  does. 

Govaert  Flinck,  inspired  by  this  print,  painted  a  picture,  now 
in  the  Louvre,  of  the  "Annunciation  to  the  Shepherds." 

The  Flight  Into  Egypt.    A  Night  Piece. 

Ch.  Blanc,  No.  26.  Claussin,  No.  57. 

Bartsch,  No.  53.  Wilson,  No.  58. 

Third  state. 

Fine,  dark  proofs  of  this  etching  are  rare.  The  later  impres- 
sions are  flat  and  do  not  worthily  show  the  intention  of  the  plate. 


68 


The  Repose  in  Egypt. 

Ch.  Blanc,  No.  30.  Claussin,  No.  61. 

Bartsch,  No.  57.  Wilson,  No.  62. 

Third  state. 

The  first  state  is  without  the  ass  ;  the  tree  and  Joseph's 
cap  are  unshaded.  In  the  second  state  the  tree  and  Joseph's  cap 
are  shaded. 

In  the  third  state  the  head  and  neck  of  the  ass  are  shown  to 
the  right.  Bartsch  mentions  only  two  states,  omitting  the  second 
state  described  above. 

From  the  collection  of  Sir  Edward  Astley. 

The  Virgin  and  Child  in  the  Clouds. 

Ch.  Blanc,  No.  32.  Claussin,  No.  65. 

Bartsch,  No.  61.  Wilson,  No.  65. 

Dated  1641,  and  signed. 
Only  state. 

"Another  sketch  is  that  of  '  The  Virgin  and  Child  in  the  Clouds,' 
which  only  proves  how  little  the  genius  of  Rembrandt  was  fitted 
to  rise  above  the  earth  and  its  familiar  realities."  (P.  G.  Hamer- 
ton,  "  Rembrandt's  Etchings,"  p.  33.) 

Jesus  Christ  Preaching. 

Ch.  Blanc,  No.  39.  Claussin,  No.  71. 

Bartsch,  No.  67.  Wilson,  No.  71. 

First  state.  Before  the  plate  was  retouched  by  Pierre  Norblin. 
The  expression  and  character  of  the  heads  in  this  fine  composi- 
tion are  simply  inimitable.   The  plate  is  etched  with  all  the  genius 
of  a  great  artist  and  one  thoroughly  impregnated  with  the  true 
spirit  of  the  Evangelist. 

From  the  collection  of  Ambroise  Firmin-Didot. 


Jesus  Christ  and  the  Woman  of  Samaria. 

Ch.  Blanc,  No.  45.  Claussin,  No.  74. 

Bartsch,  No.  70.  Wilson,  No.  74. 

Dated  1658,  and  signed. 
Third  state. 

This  plate  is  etched  in  a  spirited  and  delightful  manner. 
Rembrandt,  by  this  time  perfect  master  of  his  material,  was  easily 


69 


able  to  select  the  most  direct  means  of  expressing  his  conceptions. 
The  expressiveness  of  the  etched  line  in  this  plate  is  remarkable, 
and  the  charm  of  the  landscape  is  beautifully  rendered. 

"Ecce  Homo!' 

Ch.  Blanc,  No.  52.  Claussin,  No.  82. 

Bartsch,  No.  77.  Wilson,  No.  82. 

Dated  1636,  and  signed. 
Third  state. 

This  is  Rembrandt's  largest  etching,  and,  judging  by  the 
number  of  studies  he  made  for  the  various  figures,  the  one  to 
which  he  devoted  the  greatest  amount  of  care. 

Each  separate  countenance  is  worthy  of  study,  differing  in 
expression,  but  all  dominated  by  the  same  feelings  of  cruelty, 
mockery  and  brutality. 

Pilate  himself,  weak,  vacillating,  false,  is  in  marked  contrast 
to  Christ,  wearied  and  crowned  with  thorns,  but  still  looking 
heavenward  for  strength  to  bear  His  last  great  agony. 

Good  impressions  of  this  etching  are  rarely  found. 

Jesus  Christ  Crucified  Between  Two  Thieves. 

Ch.  Blanc,  No.  54.  Claussin,  No.  84. 

Bartsch,  No.  79.  Wilson,  No.  85. 

Only  state. 

Christ's  cross  is  turned  a  little  to  the  right.  Upon  the  same 
side,  at  a  little  distance,  is  seen  the  cross  bearing  the  repentant 
thief.  The  other  thief  is  seen  from  behind,  at  the  left  of  the  print. 
Upon  His  cross  rests  the  spear  bearing  the  sponge.  The  three 
Marys  are  at  the  foot  of  Christ's  cross,  and  several  other  figures 
are  grouped  about  them. 

This  plate  is  delicately  etched  and  with  a  fine  point. 

Duplicate  from  the  Cambridge  University  Collection. 

The  Descent  from  the  Cross. 

(The  larger  plate?) 

Ch.  Blanc,  No.  56.  Claussin,  No.  83. 

Bartsch,  No.  81.  Wilson,  No.  83. 

Dated  1633,  and  signed. 
Third  state. 

In  the  opinion  of  some  critics  this  composition  ranks  as  one 
of  the  very  finest  renderings  of  this  subject,  in  all  art. 

Bartsch  thinks  that  the  Jew  standing  to  the  left  of  the  central 


7o 


group,  and  leaning  upon  his  staff,  may  be  Joseph  of  Arimathea. 
This  seems  improbable,  and  we  may  judge  him,  by  his  attitude,  to 
be,  more  probably,  an  officer  appointed  to  superintend  the  re- 
moval of  the  dead. 

Rembrandt  has  also  painted  a  picture,  now  in  Munich,  of  this 
subject.  The  composition  is  the  same,  save  in  some  unimportant 
details,  but  the  light  is  concentrated  upon  the  figure  of  the  dead 
Christ,  instead  of  illuminating  also  the  group  surrounding  Him. 


The  Supper  at  Emmaus. 

{The  smaller  filale.) 

Ch.  Blanc,  No.  62.  Claussin,  No.  92. 

Bartsch,  No.  88.  Wilson,  No.  93. 

Dated  1634,  and  signed. 

First  state  ;  before  the  added  work  on  the  leg  of  the  table. 

Of  the  two  plates  of  this  subject,  designed  and  etched  by 
Rembrandt,  Ch.  Blanc  considers  this  one  to  be  the  better. 

The  expressions  on  the  faces  are  very  fine,  and  the  blending  of 
the  divine,  expressed  by  the  aureole  around  Christ's  head,  and  the 
domestic  and  familiar,  shown  by  the  dog  on  the  lookout  for  an- 
other bone,  is  noteworthy,  making  us  feel,  as  it  does,  that  the 
religion  of  Christ  is  not  for  occasional  but  for  daily  use. 


Peter  and  John  at  the  Gate  of  the  Temple. 

Ch.  Blanc,  No.  66.  Claussin,  No.  97. 

Bartsch,  No.  94.  Wilson,  No.  98. 

Dated  1659,  and  signed. 
Fourth  state. 

This  plate  is  also  called  "  Saint  Peter  Curing  the  Paralytic  at 
the  Beautiful  Gate  of  the  Temple." 

The  architectural  effect  is  of  a  grandeur  and  magnificence  be- 
fitting the  scene  of  that  miracle  recorded  in  the  Bible  : 

"  Then  Peter  said,  Silver  and  gold  have  I  none  ;  but  such  as  I 
have  give  I  thee  ;  In  the  name  of  Jesus  Christ  of  Nazareth  rise 
up  and  walk." 


7 1 

Saint  Philip  Baptizing  the  Ethiopian. 

Ch.  Blanc,  No.  69.  Claussin,  No.  101. 

Bartsch,  No.  98.  Wilson,  No.  103. 

Dated  1641,  and  signed. 
Second  state. 

Though  etched  with  few  lines  this  plate  illustrates  completely 
the  description  of  the  scene,  as  we  read  it  in  the  Bible. 

The  Ethiopian,  a  great  lord  at  the  court  of  Candace,  Queen  of 
the  Ethiopians,  has  just  alighted  from  his  chariot,  and,  at  his  urgent 
prayer,  is  being  baptized  by  Saint  Philip. 

Note  the  surprise  and  disdain  expressed  upon  the  face  of  the 
mounted  soldier  at  witnessing  a  rite  he  does  not  understand. 


Saint  Jerome  Writing. 

Ch.  Blanc,  No.  74.  Claussin,  No.  106. 

Bartsch,  No.  103.  Wilson,  No.  108. 

Dated  1648,  and  signed. 

Second  state,  with  the  name  of  Rembrandt  and  with  the  date 
1648. 

Rembrandt  doubtless  did  not  finish  the  plate  to  its  borders  in 
order  to  concentrate  the  attention  upon  St.  Jerome,  who  is  shown, 
spectacles  on  nose,  busily  engaged  in  writing. 

Saint  Jerome,  in  the  Manner  of  Albert  Dilrer. 

Ch.  Blanc,  No.  75.  Claussin,  No.  107. 

Bartsch,  No.  104.  Wilson,  No.  109. 

Second  state.  "  Early  proofs  in  this  state  still  show^  a  good 
deal  of  the  dry-point  work."    (Ch.  Blanc,  p.  244.) 

Rembrandt  frequently  treated  the  subject  of  St.  Jerome,  but 
never  in  a  happier  manner  than  in  this  plate.  The  Saint  is  not 
represented  as  the  anchorite  in  the  desert,  praying  to  God  to  give 
him  strength  to  resist  temptation,  but  as  one  of  the  grave  Doctors 
of  the  Church,  founder  of  a  monastery  at  Bethlehem,  quietly  seated 
and  occupied  in  the  study  or  translation  of  the  Scriptures. 

The  architecture  and  the  landscape  are  rendered  in  a  most  in- 
teresting way,  and  the  unfinished  appearance  of  the  foreground  in 
the  plate,  far  from  detracting  from  the  beauty  of  the  print,  adds,  in 
the  opinion  of  several  authorities,  to  its  interest. 


72 


Medea,  or  the  Marriage  of  Jason  and  Creusa. 

Ch.  Blanc,  No.  82.  Claussin,  No.  114. 

Bartsch,  No.  112.  Wilson,  No.  116. 

Dated  1648,  and  signed. 

Third  state,  before  that  portion  of  the  plate  bearing  the  verses 
was  cut  off. 

This  composition  illustrates  a  play  entitled  "  Medea  :  A  Tragedy 
in  five  acts  and  in  verse,  by  Jan  Six."  The  author  was  afterwards 
Burgomaster  of  Amsterdam,  and  Rembrandt  both  etched  and 
painted  his  portrait. 

The  scene  represented  is  the  interior  of  a  temple.  The  statue 
of  Juno  is  seen  to  the  right.  In  front  of  it  is  an  altar,  by  which 
stands  the  high  priest  offering  up  a  sacrifice  to  the  goddess.  At  the 
feet  of  the  priest  kneel  two  figures — Jason  and  Creusa.  Medea,  the 
deserted  wife,  is  about  to  enter  the  temple. 

The  plate  is  full  of  detail  and  is  very  carefully  etched. 

The  Game  of  Golf 

Ch.  Blanc,  No.  97.  Claussin,  No.  127. 

Bartsch,  No.  125.  Wilson,  No.  129. 

Dated  1654,  and  signed. 

First  state,  before  the  blank  spaces  at  the  top  of  the  plate 
were  filled  with  new  work. 

This  plate  is  etched  freely  and  is  without  much  brilliancy,  but 
impressions  of  the  first  state  are  not  often  to  be  met  with. 

Portrait  of  a  Jew  With  a  Big  Cap. 

Ch.  Blanc,  No.  101.  Claussin,  No.  133. 

Bartsch,  No.  133.  Wilson,  No.  135. 

Dated  1639,  and  signed. 
Only  state. 

This  little  plate  is  etched  in  a  very  delicate  and  spirited  manner. 

Portrait  of  an  Old  Man,  Seen  from  Behind. 

Ch.  Blanc,  No.  109.  Claussin,  No.  142. 

Bartsch,  No.  143.  Wilson,  No.  143. 

Second  state. 

This  subject,  together  with  five  heads,  was  etched  upon  one 
plate,  which  was  afterwards  cut  into  five  pieces.  An  impression 
from  the  uncut  plate  is  believed  to  be  unique. 


73 


Beggars  at  the  Door  of  a  House. 

Ch.  Blanc,  No.  146.  Claussin,  No.  173. 

Bartsch,  No.  176.  Wilson,  No.  173. 

Dated  1648,  and  signed. 
Second  state. 

Bartsch  describes  one  state  only,  but  Ch.  Blanc  describes  three. 

This  is  one  of  the  best  and  most  interesting  of  Rembrandt's 
etchings  of  beggars.  One  may  say  that  all  is  equally  perfect  here  ; 
the  work  of  the  needle,  which  is  of  rare  delicacy,  not  less  than  the 
expressions  upon  the  faces  of  the  people,  their  attitudes  and  the 
play  of  light,  which  so  well  detaches  them  from  one  another. 

Note  the  art  displayed  by  Rembrandt  in  leaving  one  side  of 
the  plate  clear,  so  as  to  concentrate  all  the  interest  upon  the  group. 

Portrait  of  Ephraim  Bonus. 

Ch.  Blanc,  No.  172.  Claussin,  No.  275. 

Bartsch,  No.  278.  Wilson,  No.  280. 

Dated  1647,  and  signed. 
Second  state. 

Three  proofs  only  are  known  in  the  first  state. 

This  is  one  of  the  best  and  most  famous  of  Rembrandt's  portrait 
etchings.    Its  rarity  has,  also,  added  to  its  money  value. 

Ephraim  Bonus,  a  Portuguese  by  birth,  came  to  Amsterdam, 
where  he  practiced  medicine,  in  the  first  half  of  the  17th  century. 

In  165 1  he  obtained  the  rights  of  citizenship.  M.  Scheltema,  in 
his  work  upon  Rembrandt,  says  that  Ephraim  Bonus  must  not  be 
confounded  with  Joseph  Bonus,  who  attended  Prince  Maurice  in 
his  last  illness,  in  1625,  and  suggests  that  Ephraim  may  have  been 
the  son  of  Joseph  Bonus. 

There  is,  at  Amsterdam,  in  the  house  of  the  present  Jan  Six,  a 
portrait  in  oils,  by  Rembrandt,  of  Ephraim  Bonus.  The  costume, 
pose  and  environment  are  precisely  the  same  as  in  the  etching,  lead- 
ing us  to  think  that  Rembrandt  may  have  etched  this  plate  after 
his  own  painting  and  not  direct  from  life. 

Portrait  of  Lieven  van  Coppenol. 

(The  larger  plate?) 

Ch.  Blanc,  No.  175.  Claussin,  No.  280. 

Bartsch,  No.  283.  Wilson,  No.  285. 

Fourth  state. 

Lieven  van  Coppenol,  a  celebrated  writing-master  of  Amster- 


74 


dam,  was  one  of  the  most  intimate  friends  of  Rembrandt,  who 
twice  etched  and  twice  painted  his  portrait. 

Upon  a  proof  in  the  Museum  at  Amsterdam,  in  the  handwrit- 
ing of  Coppenol,  is  the  following  inscription  : 

"  Lieven  van  Coppenol  scripsit  anno  1661.    ^Etatis  suae  62. " 

Also  six  lines  of  verse,  which  may  be  translated  thus  : 

"  Here,  by  the  hand  of  Rembrandt,  is  the  portrait  of  Lieven 
van  Coppenol,  the  phcenix  of  writing-masters  of  his  time.  His 
old  hand  still  directs  his  pen  with  skill.  He  surpassed  all  writing- 
masters,  just  as  a  swift  vessel  will  pass  others  upon  the  river  Y." 

Portrait  of  Abraham  Franz. 

Ch.  Blanc,  No.  176.  Claussin,  No.  270. 

Bartsch,  No.  273.  Wilson,  No.  275. 

Seventh  state. 

This  portrait  of  Abraham  Franz,  an  eminent  collector  and 
print-seller,  is  not  one  of  Rembrandt's  best  plates.  It  was  probably 
etched  about  1661,  at  a  time  when  Rembrandt  was  in  his  greatest 
financial  troubles,  and  to  show  his  gratitude  to  Franz  for  the 
advice  and  help  given  by  him  at  that  time. 

Portrait  of  Clement  de  Jonghe. 

Ch.  Blanc,  No.  180.  Claussin,  No.  269. 

Bartsch,  No.  272.  Wilson,  No.  274. 

Dated  165 1,  and  signed. 
Fourth  state. 

Clement  de  Jonghe  was  one  of  the  most  celebrated  publishers 
of  prints,  of  his  time,  in  Holland.  Many  of  the  best  plates  of  the 
best  etchers,  such  as  Cornells  and  Jan  Visscher,  Rogman,  Zeeman 
and  Paul  Potter,  bear  his  name  as  publisher. 

The  beauty  of  effect  and  felicity  of  pose  are  very  remarkable. 
Rembrandt  has,  by  his  art,  given  to  the  portrait  of  this  unpretend- 
ing print-seller  an  air  of  melancholy  and  reverie  that  would  not 
ill  become  a  philosopher  in  meditation. 

Portrait  of  Jan  Lutma. 

Ch.  Blanc,  No.  182.  Claussin,  No.  273. 

Bartsch,  No.  276.  Wilson,  No.  278. 

Dated  1656,  and  signed. 
Second  state. 

Jan  Lutma  was  a  famous  goldsmith  of  Groningen,  but  of  ac- 
curate information  concerning  his  life  there  is  little. 


75 


This  portrait,  one  of  Rembrandt's  finest,  is  a  most  powerful 
and  characteristic  study,  both  of  face  and  figure,  while  the  render- 
ing of  the  nature  of  the  various  materials  and  textures  is  not  less 
wonderful  than  the  portraiture. 


Portrait  of  Jan  Six. 

Ch.  Blanc,  No.  184.  Claussin,  No.  282. 

Bartsch,  No.  285.  Wilson,  No.  287. 

Dated  1647,  and  signed. 
Third  state. 

Jan  Six,  born  in  1618,  belonged  to  one  of  the  oldest  families  in 
Holland.  In  his  youth  he  showed  considerable  taste  for  Latin  and 
for  the  literature  of  his  native  land.  Although,  in  his  lifetime,  he 
was  valued  as  an  author,  the  only  one  of  his  works  that  is  re- 
membered is  the  tragedy  of  "  Medea."  This,  too,  like  all  his  other 
writings,  would,  most  probably,  have  been  entirely  forgotten  had  it 
not  been  for  the  etching  by  Rembrandt  of  "  The  Marriage  of  Jason 
and  Creusa"  illustrating  it. 

In  1655,  tne  same  year  in  which  "Medea"  was  played  for  the 
first  time,  Six  married  Margaret  Tulp,  daughter  of  Nicolas  Tulp, 
Burgomaster  of  the  City  of  Amsterdam,  a  distinguished  doctor 
and  professor  of  anatomy.  The  portrait  of  Dr.  Tulp  may  be  seen, 
as  the  central  figure,  in  Rembrandt's  painting  of  "  The  Lesson  in 
Anatomy." 

It  was,  probably,  in  the  house  of  Nicolas  Tulp  that  Rembrandt 
first  met  Jan  Six,  whom  he  was  to  immortalize  by  this  etching. 

In  1691  Six  was  elected  Burgomaster  of  Amsterdam,  and  died 
in  1700.  His  descendants  still  occupy  the  same  house  in  which  he 
lived,  and  the  interior  is  preserved  much  as  it  must  have  been  in 
the  lifetime  of  Rembrandt. 

"The  portrait  of  Jan  Six  is  unquestionably  Rembrandt's 
masterpiece  in  the  way  of  highly-finished  shading,  and  was  evident- 
ly executed  with  the  intention  of  carrying  his  art,  for  once,  as  far 
as  was  possible  for  him  in  that  special  direction.  For  a  hand  like 
his,  accustomed  to  the  utmost  freedom,  such  success  in  patient 
labour  may  appear  surprising,  but  it  has  an  exact  parallel  in  the 
high  finish  of  some  of  Rembrandt's  paintings.  The  interest  of  the 
plate  is,  however,  by  no  means  limited  to  its  technical  excellence. 
It  is  charming,  and  was  in  its  own  day,  also,  a  new  and  original 
presentation  of  a  cultivated  gentleman  in  the  privacy  of  his  own 
room.    Tranquillity  and  sobriety  in  everything  are  here  the  domi- 


76 


nant  notes.  The  subject  appears  quite  unaware  that  he  is  watched, 
and  reads,  as  he  thinks,  in  solitude,  near  his  window,  and  so  it  is 
one  of  the  most  unaffected  of  portraits."  (P.  G.  Hamerton, 
"  Rembrandt's  Etchings,"  pp.  41-42.) 

Portrait  of  Jan  Cornells  Sylvius. 

Ch.  Blanc,  No.  186.  Claussin,  No.  263. 

Bartsch,  No.  266.  Wilson,  No.  268. 

Dated  1633,  and  signed. 
Second  state. 

Jan  Cornells  Sylvius  was  a  cousin  by  marriage  of  Saskia 
Uylenburg,  first  wife  of  Rembrandt.  He  was  minister  at  Sloten, 
near  Leuwarden  in  Friesland,  and  it  probably  was  there  that  he 
met  and  married  Aeltje  Uylenburg,  a  niece  of  Rombertus  Uylenburg, 
and  consequently  cousin  to  Saskia. 

It  was  Jan  Sylvius,  seemingly,  who  arranged  the  marriage 
between  Rembrandt  and  Saskia,  at  least  his  name  appears,  in  an 
act,  as  giving  consent,  probably  in  his  capacity  of  guardian. 

"  There  are  uncertainties  and  disappointments  in  etching,  even 
for  the  most  experienced  masters,  and  one  of  the  worst  plates  that 
Rembrandt  ever  made,  if,  indeed,  he  did  entirely  execute  it  with 
his  own  hand,  is  the  portrait  of  Jan  Sylvius,  which  is  not  to  be 
confounded  with  the  fine  later  portrait  of  Sylvius  preaching, 
executed  four  years  later.  The  first  Sjdvius  does  not  show  Rem- 
brandt's usual  skill  in  drawing  (look  at  the  right  nostril  and  the 
wooden  hands),  whilst  the  shading  is  heavy  and  of  poor  quality,  be- 
ing without  any  effectual  varieties  of  tone,  texture,  and  handling." 
(P.  G.  Hamerton,  "  Rembrandt's  Etchings,"  p.  21.) 

Portrait  of  Jan  Uytenbogaert. 

Ch.  Blanc,  No.  190.  Claussin,  No.  276. 

Bartsch,  No.  279.  Wilson,  No.  281. 

Dated  1635,  and  signed. 
Fourth  state. 

Bartsch  describes  two  states  only  of  this  plate. 
From  the  collection  of  Carl  Schloesser. 

Jan  Uytenbogaert,  born  in  Utrecht  in  1557,  was  a  man  of 
profound  learning  and  noble  character.  He  played  an  important 
part,  both  in  deed  and  in  word,  in  the  religious  controversies  that 
shook  Holland  in  the  17th  century.  In  1580,  filled  with  the  spirit 
of  the  Reformation,  he  went  to  Geneva,  not  returning  to  Utrecht 
until  four  years  later.    In  1599,  at  the  siege  of  Bommel,  he  went  to 


77 


preach  in  the  camp  of  Prince  Maurice,  and  this  prince  was  so 
pleased  with  Uytenbogaert's  predictions,  that  he  retained  him  as 
Chaplain  to  the  army. 

For  fifteen  years  Uytenbogaert  followed  the  fortunes  of  the 
Prince  of  Orange  in  all  his  campaigns,  but  religious  differences 
separated  them  in  1609. 

In  the  following  year  Uytenbogaert  was  sent  on  an  Embassy 
from  the  States  General  of  Holland  to  France,  where  he  was  re- 
ceived with  marks  of  peculiar  favor  by  King  Henry  IV. 

Upon  the  death  of  Prince  Maurice  in  1625,  Uytenbogaert  re- 
turned to  Holland,  settling  at  the  Hague,  where  he  continued  to 
preach  until  his  death  in  1644. 

This  portrait,  therefore,  shows  him  at  the  age  of  78  and 
proves  that  Rembrandt  was,  even  then,  acquainted  with  some  of 
the  greatest  men  of  his  time. 

The  four  Latin  verses  etched  in  the  lower  margin  of  the  plate 
were  composed  by  Hugo  Grotius,  whose  monogram,  composed  of 
the  letters  H.  G.,  crossing  one  another,  is  etched  to  the  right  of  the 
verses. 

"The  well-known  portrait  of  Johannes  Uijtenbogaerd  is  a 
realisation  of  that  complete  scale  of  lights  and  darks  which  Rem- 
brandt had  for  some  time,  in  an  intermittent  way,  been  aiming  at. 
It  is  very  fortunate  that  the  desire  for  depth  and  richness  did  not 
lead,  in  this  instance,  to  any  overshading  of  the  face  which  is  deli- 
cately and  most  observantly  drawn."  (P.  G.  Hamerton,  "Rem- 
brandt's Etchings,"  p.  25.) 

Portrait  of  Rembrandt's  Mother. 

Ch.  Blanc,  No.  195.  Claussin,  No.  339. 

Bartsch,  No.  349.  Wilson,  No.  344. 

Dated  1631,  and  signed. 
Only  state. 

Duplicate  from  the  Cambridge  University  Collection. 

Portrait  of  Rembrandt's  Mother,  IVith  a  Black 

Veil. 

Ch.  Blanc,  No.  196.  Claussin,  No.  333. 

Bartsch,  No.  343.  Wilson,  No.  339. 

Third  state. 

Bartsch  describes  two  states  only. 

Duplicate  from  the  Royal  Museum,  Berlin. 

From  the  collection  of  Karl  Ferd:  Frederich  von  Nagler. 


7S 


Portrait  of  Rembrandt,  With  a  Moustache  and  a 

Small  Beard. 

Ch.  Blanc,  No.  206.  Claussin,  No.  2. 

Bartsch,  No.  2.  Wilson,  No.  2. 

Only  state. 

From  the  collection  of  W.  Keller. 

This  beautiful  little  plate,  though  evidently  etched  when 
Rembrandt  was  a  young  man,  is  one  of  his  finest  portraits,  both  in 
method  and  in  delicacy  of  workmanship. 


Portrait  of  Rembrandt,  With  a  Soft  Cap. 

Ch.  Blanc,  No.  224.  Claussin,  No.  28. 

Bartsch,  No.  319.  Wilson,  No.  28. 

Fourth  state. 

This  portrait  is  etched  with  delicacy  and  feeling,  and  of  all  the 
portraits  of  this  class  is  the  best  likeness  of  Rembrandt. 


Portrait  of  Rembrandt,  JVith  a  Fur  Cap  and  a 

White  Cloak. 

Ch.  Blanc,  No.  226.  Claussin,  No.  24. 

Bartsch,  No.  24.  Wilson,  No.  24. 

Dated  1630,  and  signed. 
Fourth  state. 

Duplicate  from  the  Royal  Museum,  Berlin. 
From  the  collections  of  Graf  von  Lepell. 

E.  F.  Oppermann. 

Karl  Ferd:  Frederich  von  Nagler. 


Portrait  of  Rembrandt,  With  a  Fur  Cap  and  a 

White  Cloak. 


Copy  in  reverse. 


79 


Portrait  of  Rembrandt,  With  a  Plumed  Cap. 

Ch.  Blanc,  No.  233.  Claussin,  No.  20. 

Bartsch,  No.  20.  Wilson,  No.  20. 

Dated  1638,  and  signed. 
First  state. 

From  the  collections  of  Ambroise  Firmin-Didot. 

F.  Debois. 

It  would  be  hard  to  carry  the  art  of  expressing  the  texture  and 
appearance  of  varied  stuffs,  silk,  velvet,  fur,  feathers,  embroidery 
and  linen,  to  a  higher  perfection  in  etching,  than  Rembrandt  has 
here  done.  Notwithstanding  the  brilliancy  of  the  garments,  how- 
ever, the  portrait  itself  holds  its  own. 

Four  Sketches  and  a  Portrait  of  Rejnbrandt. 

Ch.  Blanc,  No.  237.  Claussin,  No.  353. 

Bartsch,  No.  363.  Wilson,  No.  357. 

Second  state. 

These  sketches  are  full  of  knowledge.  The  portrait  of  Rem- 
brandt, notwithstanding  the  fact  that  the  nose  is  swollen  and  the 
expression  that  of  a  bandit  in  meditation,  is  full  of  energy  and 
power  of  drawing. 

La  Mauresse  Blanche. 

Ch.  Blanc,  No.  241.  Claussin,  No.  35 t. 

Bartsch,  No.  357.  Wilson,  No.  347. 

Second  state. 

This  plate  is  an  interesting  example  of  the  suggestiveness  of 
Rembrandt's  simpler  etchings.  Though  the  face  is  unshaded  and 
its  color  is  represented  by  white  paper  only,  the  nose,  lips  and  hair 
represent  the  African  type  of  face  unmistakably. 

Heads  of  Three  Women,  One  of  Whom  is  Asleep. 

Ch.  Blanc,  No.  251.  Claussin,  No.  358. 

Bartsch,  No.  368.  Wilson,  No.  362. 

Dated  1637,  and  signed. 
Only  state. 

This  plate  is  etched  with  all  the  spirit  of  Rembrandt's  best 
manner  and  is  considered  one  of  his  best  and  most  beautiful  plates. 
Impressions  of  it  are  rare. 


8o 


Portrait  of  a  Young  Man  Seated,  Reflecting. 

Ch.  Blanc,  No.  258.  Claussin,  No.  265. 

Bartsch,  No.  268.  Wilson,  No.  270. 

Dated  1637,  and  signed. 
First  state. 

This  is  one  of  Rembrandt's  most  striking  portraits,  as  it  is  also 
one  of  his  best. 

Rare,  indeed,  is  it  to  see  a  student  sunk  in  so  deep  a  reverie. 
This  young  man  seems,  at  an  early  age,  to  have  arrived  at  a  sense 
of  the  vanity  of  human  desires  and  his  dreamy  melancholy  is  most 
touching. 


Portrait  of  an  Old  Man,  With  a  Square  Beard. 

Ch.  Blanc,  No.  269.  Claussin,  No.  309. 

Bartsch,  No.  313.  Wilson,  No.  314. 

Dated  1637,  and  signed. 
Only  state. 

Duplicate  from  the  Royal  Museum,  Berlin. 

It  seems  possible  that  this  beautifully  finished  portrait  may  be 
a  study  for  the  splendid  painting,  now  in  the  Museum  at  Munich, 
which  represents  a  rich,  old  Jew,  seated  upon  a  couch. 

Portrait  of  a  Bald,  Old  Man,  With  a  Fringe  of 

Grey  Hair. 

Ch.  Blanc,  No.  274.  Claussin,  No.  291. 

Bartsch,  No.  294.  Wilson,  No.  295. 

Dated  1630,  and  signed. 
Only  state. 

Wilson  describes  a  "  first  state  "  before  the  monogram  or  the 
date,  but  Ch.  Blanc  thinks  it  probable  that  the  signature  was  erased 
and  re-etched,  this  so-called  first  state  being  an  intermediate  proof. 

Landscape,  With  a  Man  Sketching. 

Ch.  Blanc,  No.  320.  Claussin,  No.  216. 

Bartsch,  No.  219.  Wilson,  No.  216. 

Only  state. 


8i 


Landscape,  With  a  Thatched  Cottage  and  a  Big 

Tree. 

Ch.  Blanc,  No.  326.  Claussin,  No.  223. 

Bartsch,  No.  226.  Wilson,  No.  223. 

Dated  1641,  and  signed. 
Only  state. 

The  very  soul  of  Dutch  landscape  is  here  expressed  ;  a  country 
flat,  as  far  as  the  eye  can  reach,  with  nothing  to  break  the  line  of 
the  horizon  but  a  windmill  or  church  tower.  All  is  quiet,  pensive, 
a  trifle  sad. 


Landscape,  IVith  a  Thatched  Cottage  and  a  Hay- 
barn. 

Ch.  Blanc,  No.  327.  Claussin,  No.  222. 

Bartsch,  No.  225.  Wilson,  No.  222. 

Dated  1641,  and  signed. 
Only  state. 

One  of  Rembrandt's  most  perfect  landscape  plates,  etched  with 
great  care  and  delicacy.  The  quiet  melancholy  of  such  a  scene  is 
caught  and  expressed  with  wonderful  power. 

Impressions  from  this  plate  are  rare. 


Landscape,  JVith  Thatched  Cottages,  Near  a  Canal. 

Ch.  Blanc,  No.  329.  Claussin,  No.  225. 

Bartsch,  No.  228.  Wilson,  No.  225. 

Only  state. 

This  etching  is  called  "The  Sailboat  "  by  Bartsch  and  Claus- 
sin, but  as  the  most  prominent  object  in  the  plate  is  the  group  of 
thatched  cottages,  the  title  given  to  it  by  Ch.  Blanc  seems  to  be 
the  more  fitting  one. 

This  plate  is  etched  in  so  delicate  a  manner  and  is  so  lightly 
bitten  that  the  proofs  are  always  pale. 

The  Mill. 

Ch.  Blanc,  No.  333.  Claussin,  No.  230. 

Bartsch,  No.  233.  Wilson,  No.  230. 

Dated  1641,  and  signed. 
Only  state. 

In  six  interesting  pages  (pp.  334~339)  of  his  catalogue, 
"  L'CEuvre  Complet  de  Rembrandt,"  Ch.  Blanc  clearly  shows  that 


82 


this  plate  has  no  real  claim  to  the  title  of  "  Rembrandt's  Mill"  it 
has  so  long  borne. 

The  house  and  mill  of  Herman  van  Rijn  were  situated  within 
the  city  of  Leyden,  close  to  the  ramparts,  by  the  White  Gate, 
whereas  this  mill  was,  until  comparatively  recently,  standing  in  the 
village  of  Koukerke. 

DELLA  BELLA,  STEFANO.    [Italian  School,  1610-1664.] 
Born  at  Florence  in  1610. 

Pupil,  in  painting,  of  Cesare  Dandini,  and  in  engraving  of 
Canta  Gallina,  who  was  also  the  teacher  of  Callot. 

Delia  Bella's  first  plates  are  in  the  manner  of  Callot,  but  later 
he  adopted  a  style  of  his  own,  spirited  and  picturesque. 

He  visited  Paris  in  1640,  where  he  engraved  some  plates  for 
Henriet,  the  uncle  of  Israel  Silvestre.  Cardinal  Richelieu  employed 
him  to  make  drawings  of  the  siege  and  taking  of  the  towns  of 
Arras  and  La  Rochelle  ;  afterwards  he  engraved  these  subjects. 

Upon  his  return  to  Florence,  about  1650,  he  was  appointed  by 
the  Grand  Duke  instructor  in  drawing  to  his  son  Cosmo. 

Delia  Bella  died  at  Florence  in  1664. 

ANDREAS  ANDRESEN,  "HANDBUCH  FUR  KUPFERSTICHSAMMLER." 

Two  Horsemen. 

Andresen,  No.  14. 

From  a  series  of  eleven  plates  representing  negroes,  Hun- 
garians, Asians  and  Africans  on  horseback. 

The  Great  Death  on  Horseback. 

Andresen,  No.  10. 

This  impression  has  been  trimmed  about  three-quarters  of  an 
inch  at  the  top. 

SUYDERHOEF,  JONAS.    [Dutch  School,  1613-1669.] 
Born  in  Leyden  in  1613. 

He  studied  engraving  under  Cornells  Visscher  and  Pieter 
Soutman,  and  engraved  a  number  of  excellent  plates  after  Ru- 
bens, Van  Dyck,  Van  Ostade,  and  others. 

He  died  in  1669. 

JOH.  WUSSIN,  "JONAS  SUYDERHOEF,  VERZEICHNISS  SEINER  KUP- 
FERSTICHE." 


*3 


Peasants  in   an  Arbor,  in  Front  of  a  Tavern. 
(Called  "  The  Big  Broom!' ) 

Wussin,  No.  124. 

From  the  painting  by  Adrian  van  Ostade. 

Second  state,  before  the  address  and  with  only  the  names  of 
the  artists. 

The  rare  first  state  is  before  the  artist's  names.  The  third 
state  has  the  address  of  C.  de  Jonghe.  The  fourth  state  has  Leon 
Schenk  Excudit,  to  the  left  below. 

The  picture  was  sold  in  the  collection  of  Braamcamp  in  177 1, 
and  in  the  sale  of  Walsh  Porter  in  1810.    Smith.    Cat.  rais.  36. 

TESTA,  PIETRO,  called  IL  LUCCHESINO.  [Italian 
School,  1617-1650.] 

Born  at  Lucca  in  1617. 

He  was  first  a  pupil  of  Pietro  Paolini  and  later,  in  Rome, 
studied  with  Domenichino  and  under  Pietro  da  Cortona.  Having 
spoken  disrespectfully  of  this  latter  master,  Testa  was  dismissed 
from  his  school. 

Testa  was  drowned  in  the  Tiber  in  1650. 

There  are  39  plates  by  him.  In  the  majority  of  them  the  im- 
agination displayed  is  better  in  quality  than  is  the  drawing,  which 
is  often  faulty. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  XX.,  pp.  213-229. 

The  Adoration  of  the  Magi. 

Bartsch,  No.  3. 

Engraved  from  the  artist's  own  design. 

WATERLOO,   ANTONI.    [Dutch  School,  1618-1679.  (?)] 

Very  little  is  known  of  the  life  of  Antoni  Waterloo.  He  is  be- 
lieved to  have  been  born  about  1618  near  Utrecht  or  Amsterdam, 
to  have  led  an  intemperate  life,  and  to  have  died  poor  in  the  hos- 
pital of  St.  Job,  at  Utrecht,  between  the  years  1660  and  1679. 

Though  paintings  by  Waterloo  are  highly  prized,  his  greatest 
claim  to  consideration  is  as  an  etcher.    He  executed  136  plates  of 


84 


landscape  subjects  after  his  own  designs  from  nature.  They  are 
etched  with  great  spirit  and  freedom,  in  a  masterly  manner,  and 
are  usually  retouched  with  the  graver  to  harmonize  the  lights  and 
strengthen  the  shadows. 

ADAM  BARTSCH,  "LE  PEINTRE  GRAVEUR,"  Vol.  II.,  pp.  3-154. 

"  Waterloo  had  a  great  liking  for  sylvan  scenery,  which  he 
represented  as  well  as  any  landscape-etcher  of  his  time,  but  without 
either  the  tenderness  of  Claude,  the  grandeur  of  Salvator,  or  the 
accurate  knowledge  of  the  moderns."  (P.  G.  Hamerton,  "  Etch- 
ing and  Etchers,"  p.  113.) 

Two  Travellers  Resting  in  a  Wood. 

Bartsch,  No.  123. 

Mercury  and  Argus. 

Bartsch,  No.  127. 

One  of  a  set  of  six  landscapes,  with  mythological  figures. 

SWANEVELT,  HERMAN  VAN.  [Dutch  School,  1620-1690.] 

Born  at  Woerden  in  1620.  He  is  said  to  have,  first,  studied 
with  Gerard  Dow  and,  later,  to  have  gone  to  Rome  and  become,  in 
1640,  a  pupil  of  Claude  Lorraine. 

His  retired  mode  of  life,  constant  application  and  numberless 
studies  that  he  made  from  nature,  earned  him  the  name  of  "  The 
Hermit." 

The  larger  portion  of  his  life  was  spent  in  Rome,  in  which  city 
he  died  in  1690. 

He  etched  116  plates  of  landscape  subjects.  They  are  very 
delicate  in  execution  and  the  tree  forms  are  especially  well  rendered 

ADAM  BARTSCH,  "LE  PEINTRE  GRAVEUR,"  Vol.  II.,  pp.  249-326. 

The  Two  Cavaliers. 

Bartsch,  No.  79. 

The  Lady  With  the  Parasol. 

Bartsch,  No.  85. 


85 


VISSCHER,   CORNELIS.     [Dutch  School   j  ^29^670  ]  [ 

Born  at  Amsterdam  or  Haarlem  in  1620  or  1629.  He  was  a 
pupil  of  Pieter  Soutman  but  adopted  a  manner  of  his  own,  which 
has  never  been,  technically,  surpassed. 

He  engraved  many  plates  from  his  own  designs  and  his  por- 
traits are  especially  good. 

He  died  between  the  years  1658  and  1670. 

HECQUET,   APPENDIX    OF    VOL.    II.,    "  BASAN.  DICTIONAIRE  DES 
GRAVEURS." 

NAGLER,  "  KUNSTLER-LEXICON,"  XX.,  p.  383,  et  seq. 

WILLIAM  SMITH,   "CATALOGUE  OF  THE  WORKS  OF  CORNELIUS 
VISSCHER." 

The  Rat  Catcher. 

Nagler,  No.  146.    Hecquet,  No.  16.    W.  Smith,  No.  43. 
Engraved  by  Visscher  from  his  own  design. 
Second  state,  before  the  inscription  and  before  the  names  of 
the  engraver  or  publisher  in  the  margin  beneath. 
Impressions  in  this  state  are  extremely  rare. 

Portrait  of  Gelltus  de  Bouma. 

Nagler,  No.  4.    Hecquet,  No.  4.    W.  Smith,  No.  89. 

Engraved  by  Visscher  from  his  own  drawing  from  life. 

A  portion  of  the  lower  margin,  bearing  more  of  the  inscrip- 
tion, has  been  cut  off.  This  impression  is  not  earlier  than  the  third 
state. 

"  Contemporary  with  Rembrandt  was  Cornelius  Visscher,  also 
designer  and  engraver,  whose  portraits  were  unsurpassed  in  bold- 
ness and  picturesque  effect.  At  least  one  authority  has  accorded 
to  this  artist  the  palm  of  engraving,  hailing  him  as  Corypheus  of 
the  art.  Among  his  successful  portraits  is  that  of  a  cat ;  but  all 
yield  to  what  are  known  as  the  Great  Beards,  being  the  portraits 
of  William  de  Ryck,  an  ophthalmist  at  Amsterdam,  and  of  Gellius 
de  Bouma,  the  Zutphen  ecclesiastic.  The  latter  is  especially 
famous.  In  harmony  with  the  beard  is  the  heavy  face,  seventy- 
seven  years  old,  showing  the  fulness  of  long-continued  potation, 
and  hands  like  the  face,  original  and  powerful,  if  not  beautiful." 
(Charles  Sumner,  "The  Best  Portraits  in  Engraving,"  pp.  9-10.) 


86 


Saint  Matthew. 
Saint  Mark. 
Saint  Luke. 
Saint  John. 

Engraved  by  Visscher  in  1650  from  his  own  designs. 

These  four  impressions  were  in  the  collection  of  Pierre 
Mariette,  and  bear  his  autograph,  with  the  date  1670,  upon  the 
back  of  each  print. 

An  Old  Woman,   IVith  a  Boy,  by  Candlelight. 

Engraved  after  the  original  plate  ascribed  to  Peter  Paul 
Rubens.    In  the  original  the  figures  face  towards  the  left. 

BERGHEM,  NICHOLAS.    [Dutch  School,  1624-1683.] 
Born  in  Haarlem  in  1624. 

Pupil  of  his  father,  Pieter  Klaasze,  an  inferior  painter,  and 
also  of  Jan  van  Goyen,  Nicholas  Mootjaert,  Pieter  Grebber  and  Jan 
Weenix. 

The  circumstance  by  which  he  acquired  the  name  of  Berghem 
is  thus  recorded  by  Charles  de  Moor. 

He  reports  that  young  Nicholas,  while  a  pupil  of  Van  Goyen, 
was,  one  day,  pursued  by  his  father  to  the  house  of  that  master,  but 
that  Van  Goyen  seeing  that  the  father  was  about  to  chastise 
Nicholas,  stopped  the  father  and  called  out  to  his  other  scholars 
Berg  hem,  which  signifies  hide  him.  By  this  nickname  the  artist  was 
known  throughout  his  lifetime  and  his  paintings  and  etchings  are 
signed  with  it. 

Berghem  deserved  and  obtained,  in  due  season,  a  great  repu- 
tation and  his  works  brought  large  prices.  He  was  very  indus- 
trious and  besides  his  many  paintings  executed  53  etchings  of 
animals. 

He  died  upon  the  18th  of  February,  1683. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  V.,  pp.  247-283. 

"  The  great  industry  of  Berghem  and  his  accurate  knowledge 
of  cattle  gave  him  a  certain  firmness  and  precision  with  the  point 
which  are  amongst  the  chief  reasons  for  his  reputation  as  an  etcher. 


87 


Berghem  had  a  kind  of  elegance  often  rather  out  of  place  in 
the  subjects  he  chose,  and  his  shepherds  and  shepherdesses  attitu- 
dinise with  airs  and  graces  that  belong  rather  to  the  rustics  of 
Florian  than  to  those  of  the  actual  world.  His  shadows  were  ex- 
ceedingly transparent,  and  his  reflections  bright ;  he  had  the  habit 
of  using  emphasis  well  (with  a  view  to  the  kind  of  result  he  aimed 
at)  and  he  had  absolute  manual  skill.  But  I  cannot  consider  him 
a  great  etcher."    (P.  G.  Hamerton,  "Etching  and  Etchers,"  p.  101.) 

Two  Goats. 

Bartsch,  No.  37. 

A  Young  Goat  Stretching  Himself. 

Bartsch,  No.  38. 

NANTEUIL,  ROBERT.    [French  School,  1630-1678.] 
Born  at  Rheims  about  1630. 

He  was  the  son  of  a  merchant,  who  gave  him  a  classical  edu- 
cation, but  showing  a  strong  inclination  for  art  he  decided  to  fol- 
low it  as  a  profession. 

His  first  master  in  engraving  was  his  brother-in-law,  Nicolas 
Regnesson,  but  in  1647  Nanteuil  went  to  Paris  where  he  received 
farther  instruction  from  Philippe  de  Champaigne  and  Abraham 
Bosse.  He  acquired  considerable  reputation  as  a  maker  of  por- 
traits in  crayons,  and  his  talent  in  that  direction  recommended  him 
to  the  protection  of  Louis  XIV.,  whose  portrait  he  painted  and  en- 
graved, and  with  so  much  success  that  he  was  after  this  appointed 
designer  and  engraver  to  the  Royal  cabinet,  with  a  pension. 

Nanteuil  died  at  Paris  in  1678,  having  engraved  no  fewer  than 
280  plates,  nearly  all  portraits  and  mostly  from  his  own  drawings 
from  life. 

His  portraits  illustrate  the  reign  of  Louis  XIV.,  and  in  clear- 
ness and  beauty  have  never  been  surpassed. 

A.  P.  F.  ROBERT-DUMESNIL,   44  LE  PEINTRE  GRAVEUR  FRANQAIS," 

vol.  iv.,  PP:  35-189. 

Longueil,  Rene  de. 

Robert-Dumesnil,  No.  166. 

Third  state  (of  five)  with  the  date  1661. 


88 


DUJARDIN,  KAREL.    [Dutch  School,  1635-1678.] 

The  most  famous  pupil  of  Nicholas  Berghem. 

Born  at  Amsterdam  in  1635.  He  removed,  at  an  early  age,  to 
Rome  and  there  acquired  both  fame  and  fortune,  but  seems  to  have 
spent  his  money  freely.  He  returned  to  his  native  land  by  way  of 
Lyons,  in  which  city  he  met  and  married  an  heiress  considerably 
older  than  himself.  This  marriage  enabled  him  to  pay  the  debts 
he  had  incurred  in  Rome,  to  which  city  he  soon  afterwards  returned, 
deserting  his  wife. 

He,  later,  removed  to  Venice,  where  he  died  in  1678. 

His  etchings  number  52  plates  and  were  executed  between 
1652  and  1660.  It  is  worthy  of  note  that  his  earliest  plates,  etched 
when  he  was  but  seventeen  years  of  age,  are  not  inferior  to  his 
latest  work. 

ADAM  BARTSCH,  " LE  PEINTRE  GRAVEUR,"  Vol.  I.,  pp.  161-196. 

"  He  is  inferior  in  skill  and  knowledge  to  Paul  Potter,  but 
nearly  of  the  same  rank  in  point  of  artistic  conception  and  imagi- 
nation, and  quite  free  from  the  misplaced  elegance  which  often 
spoiled  the  work  of  Berghem.  He  was  not  a  good  etcher  because 
he  could  not  sketch  well.  His  stiff,  precise  lines  are  not  to  be 
recommended  for  imitation,  and  his  ignorance  of  landscape  was 
complete.  His  merits  are  a  certain  knowledge  of  animals,  ex- 
pressed with  a  perfect  sincerity,  and  a  dexterity  sufficient  for  his 
purpose."    (P.  G.  Hamerton,  "  Etching  and  Etchers,"  pp.  102-103.) 

The  Peasant. 

Bartsch,  No.  27. 

RUYSDAEL,  JACOB.    [Dutch  School,  1635-1681.] 

Born  in  Haarlem  about  1635.  He  was  educated  as  a  physician 
and  surgeon  and  acquired  considerable  reputation  in  the  practice 
of  his  profession  ;  but  his  inclination  towards  art  was  too  strong  to 
be  resisted.  The  works  of  Nicholas  Berghem  first  excited  Ruys- 
dael's  admiration,  and  though  we  do  not  certainly  know  if  he  be- 
came a  pupil  of  Berghem  we  do  know  that  he  went  to  Amsterdam 
and  that  they  were  friends. 

Ruysdael  returned,  later,  to  Haarlem,  where  he  died  in  1681. 

He  etched  seven  plates  only,  but  these  show  the  swiftness  and 
lightness  of  hand  of  the  artist. 

ADAM  BARTSCH,  "  LE  PEINTRE  GRAVEUR,"  Vol.  I.,  pp.  3°9~3I9- 
"  I  say  nothing  of  his  pictures,  which  are  out  of  my  present 


89 


subject  .  .  .  but  of  Ruysdael,  as  an  etcher,  I  say  simply  that 
he  is  somewhere  down  in  the  fifth  or  sixth  rank.  It  is  intelligible 
that  when  work  like  that  of  Ruysdael  is  held  up  as  the  work  of  a 
great  master,  the  majority  of  the  public,  not  having  time  to  investi- 
gate the  matter  for  themselves,  conclude  that  the  whole  art  of 
etching  is  imperfect."    (P.  G.  Hamerton,  "  Etching  and  Etchers," 

p.  JI2.) 

The  Thatched  Cottage  on  the  Hill. 

Bartsch,  No.  3. 

VISSCHER,  JAN.    [Dutch  School,  1636-1693.  (?)] 
Born  in  Amsterdam  in  1636. 

The  younger  brother  of  Cornelis  Visscher.  Although  Jan  did 
not  possess  the  genius  of  his  brother,  his  plates  are  admirably  exe- 
cuted, and  are,  as  a  rule,  finely  finished.  He  engraved  a  number 
of  plates  after  Berghem,  Wouverman,  Van  Goyen  and  Van  Ostade, 
and  also  several  portraits. 

The  exact  date  of  his  death  is  not  known,  but  it  was  after  1692. 

The  Dance  Otitside  the  Inn. 

Second  state. 

From  the  painting  by  Adrian  van  Ostade. 


MASSON,  ANTOINE.    [French  School,  1636-1700.] 
Born  at  Louvry,  near  Orleans,  in  1636. 

He  was  brought  up  to  the  business  of  an  armourer  and  first 
exercised  the  burin  in  engraving  ornaments  on  steel.  Early  in  his 
life  he  settled  in  Paris,  where  he  applied  himself,  with  great  dili- 
gence, to  drawing,  and  acquired  some  celebrity  also  as  a  portrait 
painter.  In  his  case,  as  in  that  of  Nanteuil,  his  powers  as  a  painter 
greatly  assisted  him  in  his  engraved  works,  some  of  which  were 
from  his  own  paintings. 

He  is,  however,  chiefly  remembered  as  an  engraver,  and  in  some 
of  his  plates,  particularly  his  portraits,  he  reached  an  excellence 
which  has  seldom  been  surpassed.  He  worked  entirely  with  the 
graver,  which  he  handled  with  surprising  firmness  and  facility,  and 
at  the  same  time  with  surprising  delicacy. 


9° 


In  1679  he  became  a  member  of  the  Academy  in  Paris,  and  died 
in  that  city  in  1700. 

His  engravings  number  sixty-eight  plates,  of  which  sixty-two 
are  portraits. 

A.  P.  F.  ROBERT-DUMESNIL,  "  LE  PEINTRE  GRAVEUR  FRANQAIS," 
Vol.  II.,  pp.  98-139. 

"  Among  French  masters  Antoine  Masson  is  conspicuous  for 
brilliant  hardihood  of  style,  which,  though  failing  in  taste,  is  pow- 
erful in  effect.  Metal,  armor,  velvet,  feathers,  seem  as  if  painted. 
He  is  also  most  successful  in  the  treatment  of  hair.  His  immense 
skill  made  him  welcome  difficulties,  as  if  to  show  his  ability  in  over- 
coming them."  (Charles  Sumner,  "  The  Best  Portraits  in  Engrav- 
ing," p.  14.) 

Portrait  of  Emmanuel-  Theodose  de  la  Tour  d'  Au- 
vergne,  due  d '  Albret,  Cardinal  de  Bouillon. 

Robert-Dumesnil,  No.  14. 

From  the  painting  by  Nicolas  Mignard. 

Second  state,  with  the  inscription  changed  from  "  Sereniss. 
Prin.  Emanuel  Theodosius,"  &c. 
Engraved  in  1665. 

The  personage  portrayed  was  a  nephew  of  the  celebrated 
Turenne. 


EDELINCK,  GERARD.    [French  School,  1640-1707.] 
Born  at  Antwerp  1640. 

He  was  instructed  in  engraving  by  Cornells  Galle,  the  younger, 
but  in  1666  went  to  Paris,  where  he  entered  the  studio  of  Francois 
de  Poilly,  and  was,  later,  taken  into  the  service  of  Louis  XIV.,  who 
settled  a  pension  upon  him,  with  apartments  in  the  Gobelins.  In 
1675  ne  received  letters  of  naturalization,  and  in  1677  he  was  re- 
ceived into  the  Academy,  and  was  soon  afterwards  knighted  by  the 
King. 

His  style  is  more  delicate  than  that  of  Scheltius  a  Bolswert  or 
Paul  Pontius,  though  not  less  picturesque  than  theirs,  and  his  ex- 
ecution is,  at  the  same  time,  both  bold  and  finished,  though  dis- 
playing nothing  of  labor  or  littleness. 


91 


He  engraved  339  plates,  of  which  200  were  portraits,  and,  in 
many  instances,  improved  upon  the  original  paintings  he  translated. 
He  died  at  Paris  in  1707. 

ROBERT-DUMESNIL,  «'LE  PEINTRE  GRAVEUR  FRANQAIS,"  Vol.  VII., 
pp.  169-336. 

"  Younger  than  Nanteuil  by  ten  years,  Gerard  Edelinck  excelled 
him  in  genuine  mastery.  Born  at  Antwerp,  he  became  French  by 
adoption,  occupying  apartments  in  the  Gobelins,  and  enjoying  a 
pension  from  Louis  XIV.  Longhi  says  that  he  is  the  engraver 
whose  works,  not  only  according  to  his  own  judgment,  but  that  of 
the  most  intelligent,  deserve  the  first  place  among  exemplars,  and 
he  attributes  to  him  all  perfections  in  highest  degree,  design, 
chiaro-oscuro,  aerial  perspective,  local  tints,  softness,  lightness, 
variety,  in  short  everything  which  can  enter  into  the  most  exact 
representation  of  the  true  and  beautiful,  without  the  aid  of  color. 
Others  may  have  surpassed  him  in  particular  things,  but,  accord- 
ing to  the  Italian  teacher,  he  remains  by  common  consent  'the 
prince  of  engraving.'    Another  critic  calls  him  '  king.' 

It  requires  no  remarkable  knowledge  to  recognize  his  great 
merits.  Evidently  he  is  a  master,  exercising  sway  with  absolute 
art,  and  without  attempts  to  bribe  the  eye  by  special  effects  of 
light,  as  on  metal  or  satin."  (Charles  Sumner,  "The  Best  Portraits 
in  Engraving,"  p.  19.) 

Saint  Basil  and  Saint  Gregory. 

Robert-Dumesnil,  No.  25. 
Only  state. 

From  a  design  by  Jean  Baptiste  de  Champaigne,  a  nephew  and 
pupil  of  Philippe  de  Champaigne. 

Portrait  of  Philippe  de  Champaigne. 

Robert-Dumesnil,  No.  164. 

First  state,  before  the  perpendicular  slip  of  the  graver  near  the 
trunk  of  the  tree,  back  of  the  person. 

The  original  painting,  by  Philippe  de  Champaigne,  is  in  the 
Gallery  of  the  Louvre.  Villot,  No.  89  ;  Waagen.  Handbook  II., 
p.  300. 

The  copper  plate  is  in  the  Chalcografie  du  Louvre,  Paris. 
This  engraving  is  usually  considered  Edelinck's  masterpiece 


92 


and  one  of  the  four  greatest  engraved  portraits  in  the  history  of 
the  art.  Of  it  Longhi  says,  in  his  book,  "  La  Calcografia,"  p.  176  : 
"  The  work  which  goes  the  most  to  my  blood,  and  with  regard 
to  which  Edelinck,  with  good  reason,  congratulated  himself,  is  the 
portrait  of  Champaigne.  I  shall  die  before  I  cease  to  contemplate 
it  with  wonder  always  new.  Here  is  seen  how  he  was  equally  great 
as  designer  and  engraver." 

Portrait  of  Jules  Hardouin  Mansard. 

Robert-Dumesnil,  No.  268. 

Third  state,  with  the  address  of  Bligny. 

After  the  painting  by  Hyacinthe  Rigaud. 

DREVET,  PIERRE.    [French  School,  1663-1738.] 
Born  at  Lyons,  July  20,  1663. 

Pupil  of  Germain  Audran,  and  later,  in  Paris,  of  Gerard 
Audran. 

In  1696  he  was  appointed  Engraver  to  the  King,  probably  in 
recognition  of  his  beautiful  half-length  portrait  of  Louis  XIV., 
after  Rigaud,  engraved  in  1695  ;  and  in  1707  he  was  made  a  mem- 
ber of  the  Academy. 

In  17 12  he  engraved  his  masterpiece  :  the  full-length  portrait 
of  Louis  XIV.,  after  Rigaud,  but  from  this  time  onward  until  his 
death,  on  August  9,  1738,  he  engraved  but  eight  more  portraits. 
It  seems  probable  that  he  was  content  to  have  his  own  glory  out- 
shone by  the  greater  glory  of  his  only  son — Pierre  Imbert  Drevet. 

AMBROISE  FIRMIN-DIDOT,  "LES  DREVET." 

Portrait  of  Jean  Paul  Bignon. 

Firmin-Didot,  No.  22. 

Third  state,  with  the  words,  "  Decan.  S.  Germ.,"  in  the  inscrip- 
tion in  the  oval.  Rare. 

From  the  painting  by  Hyacinthe  Rigaud. 

Portrait  of  Madame  Marie  de  Laubespine. 

Firmin-Didot,  No.  81. 

Second  state,  with  the  full  address  of  Drevet. 
From  the  painting  by  nic.  de  Largilliere.  Madame  de  Laubes- 
pine was  the  wife  of  Nicolas  Lambert,  Seigneur  de  Thorigny. 


93 


PICART,  BERNARD.    [French  School,  1673-1733.] 
Born  at  Paris  in  1673. 

He  was  a  pupil  of  his  father,  Etienne  Picart,  but  later,  in 
painting,  of  Le  Brun  and  Jouvenet,  and  in  engraving,  of  Sebastien 
Le  Clerc. 

At  the  age  of  sixteen  he  gained  honors  at  the  Academy  of 
Paris.  He  distinguished  himself  both  as  a  designer  and  as  an  en- 
graver and  executed  a  great  number  of  plates. 

In  1 7 10  he  left  Paris  and  settled  at  Amsterdam,  where  he  died 
in  1733. 

The  Annunciation. 

After  Guido  Reni. 

CHEREAU,  FRANCOIS.    [French  School,  1680-1729.] 
Born  at  Blois  in  1680. 

Pupil  of  Gerard  Audran  and  of  Pierre  Drevet.  He  distin- 
guished himself  by  the  beauty  of  his  touch  and  the  correctness  of 
his  drawing,  particularly  in  his  portraits,  some  of  which  are  ad- 
mirable, and  showed  himself  a  worthy  pupil  of  his  two  great 
masters. 

He  died  in  Paris  in  1729. 

Portrait  of  Ensebiiis  Renaudot. 

From  the  painting  by  I.  Ranc. 

Renaudot  was  a  member  of  the  Academy  of  France.  He  died 
on  September  1st,  1720,  aged  74  years. 


CANALE,   ANTONIO,  called  CANALETTO.  [Italian 
School,  1697-1768.J 

Born  at  Venice  in  1697. 

Pupil  of  his  father,  Bernardo  Canale.  For  some  years  Antonio 
was  a  scene  painter  in  a  theatre,  but  having  more  exalted  ideas 
upon  the  subject  of  art,  visited  Rome  and  passed  some  time  in 
drawing  the  grand  remains  of  antiquity  in  the  metropolis  and  its 
vicinity.    He  then  returned  to  Venice  and,  in  the  views  of  that 


94 


city,  found  subjects  for  some  of  his  most  interesting  and  pictur- 
esque works. 

He  died  in  1768. 

"  Canaletto's  work  is  clear,  and  simple,  and  honest  ;  but  it  has 
very  little  freedom,  a  moderate  appreciation  of  beauty,  no  grace, 
and  no  imagination.  He  saw  that  Venice  was  picturesque,  and  in 
him  the  modern  enjoyment  of  architecture,  as  a  pictorial  subject, 
found  its  first  adequate  expression  ;  but  we  have  better  architect- 
ural painters  in  these  days  ;  and  though  good  etchers  are  always 
very  rare,  we  have  one  or  two  men  who  etch  better  than  Canaletto. 
The  word  which  best  characterises  him  is  respectable  mediocrity, 
but  it  is  mediocrity  still,  however  respectable."  (P.  G.  Hamerton, 
"  Etching  and  Etchers,"  p.  111.) 

View  of  Pietra  Delia  Valle. 
A  View  of  Venice. 

From  a  series  of  31  views  of  Venice  and  the  Lagoons,  entitled, 
"  Vedute  altre  prese  da  i  luoghi  ideale  de  Antonio  Canal  e  da  esso  in- 
tagliati." 

DREVET,  PIERRE  IMBERT.   [French  School,  1697-1739.] 

Born  in  Paris,  June  22,  1697.  Son  and  pupil  of  Pierre  Drevet. 
At  a  very  early  age  he  distinguished  himself  as  an  engraver,  and 
in  1723  engraved  his  masterpiece — the  portrait  of  Bossuet.  The 
next  year  he  became  a  member  of  the  Academy,  and  on  April  21, 
1729,  was  appointed  Engraver  to  the  King.  About  this  time  Drevet 
became  insane,  and  though  he  seems  to  have  had  lucid  intervals — 
in  one  of  which  he  engraved  his  last  portrait,  that  of  Rene 
Pucelle,  after  Rigaud — he  engraved  little  more  until  the  day  of  his 
death,  April  27,  1739. 

AMBROISE  FIRMIN-DIDOT,  "  LES  DREVET." 

"  As  Edelinck  passed  from  the  scene,  the  family  of  Drevet  ap- 
peared, especially  the  son,  Pierre  Imbert  Drevet,  born  in  1697,  who 
developed  a  rare  excellence,  improving  even  upon  the  technics  of 
his  predecessor,  and  gilding  his  refined  gold.  The  son  was  born 
engraver,  for  at  the  age  of  thirteen  he  produced  an  engraving  of 
exceeding  merit.  He  manifested  a  singular  skill  in  rendering  dif- 
ferent substances,  like  Masson,  by  the  effect  of  light,  and  at  the 


95 


same  time  gave  to  flesh  a  softness  and  transparency  which  remain 
unsurpassed.  To  these  he  added  great  richness  in  picturing  cos- 
tumes and  drapery,  especially  in  lace. 

He  was  eminently  a  portrait  engraver,  which  I  must  insist  is 
the  highest  form  of  the  art,  as  the  human  face  is  the  most  im- 
portant object  for  its  exercise.  Less  clear  and  simple  than  Nan- 
teuil,  and  less  severe  than  Edelinck,  he  gave  to  the  face  indi- 
viduality of  character,  and  made  his  works  conspicuous  in  art.  If 
there  was  excess  in  the  accessories,  it  was  before  the  age  of  Sartor 
Resartus,  and  he  only  followed  the  prevailing  style  in  the  popular 
paintings  of  Hyacinthe  Rigaud.  Art  in  all  its  forms  had  become 
florid,  if  not  meretricious,  and  Drevet  was  a  representative  of  his 
age."    (Charles  Sumner,  "  The  Best  Portraits  in  Engraving,"  p.  21.) 

Portrait  of  Samuel  Bernard, 

Firmin-Didot,  No.  11. 

Third  state,  with  the  words,  "  Conseiller  d'Estat." 
The  original  painting  by  Hyacinthe  Rigaud  was,  in  1876,  in  the 
possession  of  M.  le  comte  Forestier  de  Coubert. 

Portrait  of  Jacques- Benigne  Bossuet. 

Firmin-Didot,  No.  12. 

Ninth  state,  with  five  dots  after  the  word  "pinxit" 
After  the  painting  by  Hyacinthe  Rigaud. 

The  original  picture  is  in  the  gallery  of  the  Louvre.  Villot, 
No.  477. 

The  painting  was  commenced  in  1699,  but  the  head  only  was 
finished,  the  entire  picture  not  being  completed  until  1705,  after 
the  death  of  Bossuet. 

One  of  the  four  greatest  portraits  in  line  engraving. 

"  The  portrait  of  Bossuet  has  everything  to  attract  and  charm. 
There  stands  the  powerful  defender  of  the  Catholic  Church,  master 
of  French  style,  the  most  renowned  pulpit  orator  of  France,  in  epis- 
copal robes,  with  abundant  lace,  which  is  the  perpetual  envy  of  the 
fair  who  look  at  this  transcendent  effort.  The  ermine  of  Dubois  is 
exquisite,  but  the  general  effect  of  this  portrait  does  not  compare 
with  the  Bossuet."  (Charles  Sumner,  "The  Best  Portraits  in  En- 
graving," p.  22.) 

Of  this  portrait,  Mariette  says  : 

"One  could  not  wish  for  anything  more  perfect  than  this  ad- 
mirable engraving." 


96 


Portrait  of  Guillaume  Dubois. 

Firmin-Didot.    No.  15. 

Second  state,  with  the  title. 

After  the  painting  by  Hyacinthe  Rigaud. 

JACKSON,  JOHN  BAPTIST.  [Italian  School,  1701-1755.  (?)] 
Born  in  England  in  1701. 

He  was  first  apprenticed  to  the  wood  engraver,  L.  Kirkall,  and 
went  to  Paris  about  1726,  where  he  worked  for  some  time  for 
Papillon,  but  not  meeting  with  much  encouragement  he  went  to 
Rome  and  to  Venice,  where  he  executed  several  wood  cuts  in  imi- 
tation of  the  drawings  of  the  great  masters. 

He  returned  to  England  about  1746,  and  died  some  time  after 
1754. 

His  principal  works  are  a  set  of  seventeen  large  cuts  in  chiar- 
oscuro, published  at  Venice  by  Pasquali  in  1745,  under  the  title 
of  "Titiani  Vecellii,  Pauli  Caliari,  Jacobi  Robusti,  et  Jacobi  de 
Ponte,  Opera  selectiora,  a  Joanne  Baptista  Jackson,  Anglo,  ligno 
caelata,  et  coloribus  adumbrata." 

The  Entombment  of  Christ. 

After  Jacobo  de  Ponte. 

The  Presentation  in  the  Temple. 

After  Titian. 

WAGNER,  JOSEPH.     [Italian  School,  1706-1780.] 

Born  at  Thalendorf,  on  the  shore  of  Lake  Constance,  in  1706. 
He  studied  painting  at  Venice  with  Jacopo  Amiconi,  who  adopted 
him  when  he  was  but  fourteen  years  old,  and  persuaded  him  to 
turn  his  attention  to  engraving,  in  which  he  had  Spath  for  a  master. 

He  accompanied  Amiconi  to  Rome  and  to  Bologna,  and  in 
1733  to  England.  He  afterwards  went  to  Paris,  to  study  engrav- 
ing under  Laurent  Cars,  but  soon  afterwards  returned  to  England, 
where  he  engraved  several  portraits,  and  then  returned  to  Venice, 
where  he  opened  a  school  and  carried  on  a  considerable  business 
as  a  print-seller.  Among  his  pupils  were  Bartolozzi,  Flipart  and 
Berardi. 

He  died  at  Munich  in  1780. 


97 


Christ  and  Mary  Magdalen. 

From  the  painting  by  Benedetto  Lutti. 

SCHMIDT,  GEORG  FRIEDRICH.    [French  School,  1712- 

I775-] 

Born  at  Berlin  in  17 12.  Instructed  in  design  and  engraving 
by  G.  P.  Busch.  At  an  early  age  Schmidt  went  to  Paris,  where  he 
became  a  pupil  of  Nicholas  de  Larmessin  ;  and  under  his  direction 
acquired  a  neatness  and  firmness  of  engraving  that  has  rarely  been 
surpassed. 

In  1742  he  was  received  into  the  Academy  at  Paris,  and  in  1744 
returned  to  Berlin,  where  he  was,  soon  afterwards,  appointed  En- 
graver to  the  King.  He  resided  in  Berlin  until  1757,  when  he  was 
invited  by  the  Empress  Elizabeth  to  St.  Petersburg,  where  he  en- 
graved several  excellent  plates.  In  1762  he  returned  to  Berlin, 
where  he  practiced,  with  great  success,  a  new  method  of  combining 
etching  and  engraving.  His  manner  of  etching,  in  these  plates,  was 
modelled  upon  that  of  Rembrandt,  after  whose  paintings  many  of 
the  finest  were  executed. 

Schmidt  died  at  Berlin  in  1775. 

L.  D.  JACOBI,  "SCHMIDT'S  WERKE." 

Portrait  of  Maurice  Quentin  de  La  Tour. 

Jacobi,  No.  50. 

From  the  painting  by  La  Tour,  called  The  Laughing  Painter. 
Engraved  in  1742. 

This  plate  is  rare,  and  is  considered  by  some  authorities  to  be 
Schmidt's  masterpiece. 

An  Old  Bearded  Man,  JVith  a  Fur  Cap  and  a 

Breastplate. 

Jacobi,  No.  116. 

From  an  original  design  by  Schmidt. 
Engraved  in  1750. 

The  Father  of  the  Jewish  Bride, 

Jacobi,  No.  129. 

From  the  painting  by  Rembrandt.  The  original  painting  was, 
at  the  time  of  the  etching,  in  1770,  in  the  collection  of  Count 
Kamcke. 


98 


The  Duke  Adolphus,  of  Gueldres,  Threatening  His 
Imprisoned  Father. 

Jacobi,  No.  137. 

From  the  painting  by  Rembrandt  in  the  Berlin  Gallery,  No. 
802.  This  etching  omits  the  two  negro  attendants  behind  the 
prince. 

Impression  before  the  cross-hatching  on  the  raised  hand,  on  the 
shoulder  of  the  cloak,  and  before  the  shading  of  the  keyhole. 

The  space  under  the  plate  remained  blank  in  all  the  impres- 
sions, as  the  plate  never  had  an  inscription,  except  the  artist's 
names. 

Engraved  in  1756. 

Portrait  of  Dinglinger. 

Jacobi,  No.  148. 

After  the  painting  by  Antoine  Pesne. 
Dinglinger  was  a  jeweller  in  Dresden. 
Engraved  in  1769. 

Tobias  and  His  Wife. 

Jacobi,  No.  177. 

From  the  painting  by  Rembrandt.  Smith.  Catalogue  rai- 
sonne,  "  Rembrandt,"  No.  48. 


SMITH,  GEORGE  (Smith  of  Chichester).    [English  School, 

1714-1776.] 

Born  at  Chichester  in  17 14. 

He  studied  art  by  painting,  together  with  his  brothers,  the 
scenery  in  the  neighborhood  of  his  birthplace.  His  mature  works 
in  painting  are  weak  imitations  of  Claude  and  Poussin,  but  are 
remembered  as  being  engraved  by  Woollett  and  other  engravers. 

George  Smith,  together  with  his  brother  John,  published  fifty- 
three  etchings  from  their  own  landscapes.    He  died  in  1776. 


A  Storm. 

Etched  in  1767.    One  of  a  series  of  landscape  subjects. 


99 


WILLE,  JOHANN   GEORG.    [French  School,  1717-1808.] 

Born  near  the  small  town  of  Konigsberg,  in  the  Grand-Duchy 
of  Hesse-Darmstadt,  in  1717.  At  a  very  early  age  he  showed  his 
bent  toward  the  fine  arts,  and  when  ten  years  old  was  sent  to  study 
with  a  painter,  whose  name  we  do  not  know.  He  quickly  learned 
the  elements  of  drawing,  but  owing  to  nearsightedness  and  to  his 
strong  inclination  towards  line  engraving,  he  abandoned  painting 
and  devoted  himself  entirely  to  work  with  the  burin.  His  first  at- 
tempts were  made  upon  the  tin  and  copper  vessels  belonging  to  his 
father  and  showed  remarkable  aptitude.  He  entered  as  apprentice 
the  workshop  of  a  gunsmith  and  remained  there  two  years. 

After  finishing  his  apprenticeship,  in  1736,  he  wandered  to 
Paris,  becoming  acquainted  with  Georg  Friedrich  Schmidt  at 
Strasburg  and  journeying  with  him  to  the  capital. 

At  first  he  encountered  great  difficulties  and  was  poorly  recom- 
pensed for  his  engravings,  but  the  painter  Rigaud  recognizing  the 
merit  of  the  young  artist's  productions,  took  him  under  his  pro- 
tection, and  so  quickly  did  Wille's  reputation  spread  that  before 
long  he  had  more  commissions  than  he  could  execute. 

He  became  a  member  of  the  Academy  at  Paris,  and  also  of  the 
Academies  of  Rouen,  Augsburg,  Vienna,  Berlin  and  Dresden.  He 
was  appointed  Engraver  to  the  King  of  France,  the  Emperor  of 
Germany  and  the  King  of  Denmark.  Several  sovereigns  sent  young 
men  to  him  to  be  instructed  in  the  art  of  engraving.  Among  his 
most  famous  pupils  may  be  named  Schultze,  Schmutzer,  J.  G.  Miil- 
ler,  Bervic  and  Chevillet.  He  was  a  great  lover  and  collector  of 
works  of  art  and  did  not  hesitate  to  pay  large  prices  for  choice 
paintings. 

He  died  a  very  poor  man  in  1808. 

As  an  engraver  he  excelled  in  portraying  the  brilliancy  and 
softness  of  silk  and  satin  draperies.  His  style  was  admirably 
adapted  to  the  translation  of  the  paintings  of  Gerard  Dow,  Mieris, 
Metzu  and  Netscher  and  some  of  his  finest  works  are  after  these 
masters.  He  also  engraved  a  number  of  excellent  portraits  after 
French  artists,  in  a  very  beautiful  manner. 

CHARLES  LE  BLANC,  "CATALOGUE  DE  L'CEUVRE  DE  JEAN  GEORGES 
WILLE." 

The  Nurse. 

Le  Blanc,  No.  30. 
Second  state. 


IOO 


*    The  Picnic. 

Le  Blanc,  No.  34. 
Second  state. 

The  Winding  Road. 

Le  Blanc,  No.  44. 
Second  state. 

r 

Portrait  of  JVoldemar  de  Loewendal,  Marechal  de 

France. 

Le  Blanc,  No.  122. 

After  the  painting  by  Maurice  Quentin  de  La  Tour. 
Third  state,  with  the  full  inscription. 
Engraved  in  1749. 

Portrait  of  Jean  de  Boullongne,  Controleur  general 

des  Finances. 

Le  Blanc,  No.  126. 

Third  state,  with  the  inscription  in  three  lines. 
After  the  painting  by  Hyacinthe  Rigaud. 
Engraved  in  1758. 


BALECHOU,  JEAN  JOSEPH.    [French  School,  1719-1764.] 
Born  at  Aries,  17 19. 

He  studied  first  under  a  seal  engraver  named  Michel,  at 
Avignon,  and  later  under  Lepicie  in  Paris  ;  but  being  compelled 
to  ■  leave  that  city,  he  returned  to  Avignon,  where  he  died  in  1764. 

His  three  plates,  after  Claude  Joseph  Vernet,  are  among  the 
fine  productions  of  the  graver,  though  they  are  surpassed  by  the 
engravings  of  William  Woollett. 

The  Storm, 

After  the  painting  by  Claude  Joseph  Vernet.  This  picture  was 
owned  at  the  time  of  the  engraving,  by  M.  Poulharies,  at  Marseilles. 
This  plate  is  considered  Balechou's  masterpiece. 


IOI 


A  Calm  at  Sunset. 

After  the  painting  by  Claude  Joseph  Vernet. 
"Tire   du   cabinet  de  M.  Renaud,  Chanoine  de  St.  Didier 
d'Avignon." 


BARTOLOZZI,  FRANCESCO.  [English  School,  1727-1815.] 

Born  at  Florence,  1727.  The  son  of  Gaetano  Bartolozzi,  gold- 
smith and  worker  in  filigree. 

In  his  fifteenth  year  he  was  entered,  as  a  pupil,  at  the  Floren- 
tine Academy,  where  he  was  instructed  in  drawing  by  Ferretti.  It 
was  at  this  time  that  Bartolozzi  became  acquainted  with  Cipriani, 
who  was  then  his  fellow-pupil,  and  from  whose  drawings  so  many 
of  his  later  plates  were  engraved. 

Having  visited  Rome,  after  leaving  the  Academy,  at  the  age  of 
18  he  was  apprenticed  to  Joseph  Wagner,  at  Venice,  from  whom  he 
learned  engraving.  His  first  plates  were  engraved  after  Marco 
Ricci,  Zuccarelli  and  others,  and  are  not  devoid  of  merit. 

At  the  close  of  his  apprenticeship  he  married  Lucia  Ferro,  a 
Venetian  lady  of  good  family,  and  upon  the  invitation  of  Cardinal 
Bottari,  removed  to  Rome. 

In  1764,  at  the  age  of  37,  he  was  persuaded  by  Dalton,  Librarian 
to  King  George  the  Third,  and  who  was  then  in  Italy  upon  a  Royal 
commission  to  purchase  paintings,  to  come  to  England.  Soon 
after  his  arrival  he  was  appointed  Engraver  to  the  King  with  a 
salary  of  ^300  a  year. 

His  first  important  work  was  the  series  of  etchings  after  the 
drawings  of  Guercino  in  the  Royal  collection,  shortly  followed  by 
the  engravings  after  the  drawings  by  the  great  Bolognese,  Roman, 
Florentine  and  Venetian  masters,  also  in  the  collection  of  His 
Majesty. 

Upon  the  foundation  of  the  Royal  Academy,  in  1769,  Bartolozzi 
was  nominated  as  one  of  the  original  members.  He  contributed 
from  time  to  time,  during  the  next  thirty  years,  to  its  exhibitions. 

At  the  age  of  74,  after  a  residence  of  38  years  in  England, 
Bartolozzi  received  a  twice-repeated  invitation,  coupled  with  a 
promise  of  Knighthood  and  a  pension,  from  the  Prince  Regent  of 
Portugal  to  remove  to  Lisbon.  This  offer  was  accepted,  and  on 
November  2,  1802,  he  left  England  forever. 

In  Lisbon  he  still  continued  to  work  and  teach  until  shortly 
before  his  death,  which  occurred  after  a  brief  and  almost  painless 


102 


illness,  on  March  7,  1815.  He  is  buried  in  the  Church  of  Sta. 
Isabel. 

Notwithstanding  the  Italian  origin  of  Bartolozzi,  the  fact  that 
his  principal  works  were  executed  in  England  has  caused  him  to 
be  generally  looked  upon  as  an  English  engraver.  He  is  also  often 
thought  to  have  originated  the  stipple  manner  of  engraving,  but 
though  he  carried  the  technical  fineness  of  the  art  to  a  perfection 
surpassing  any  subsequent  work,  the  first  artist  to  actually  prac- 
tice this  style  of  engraving  was  a  Frenchman — Demarteau — who 
taught  it  to  Ryland  and  Picot,  in  Paris,  and  who  in  their  turn 
brought  the  art  to  London  at  about  the  time  of  Bartolozzi's  arrival 
in  England. 

Though  Bartolozzi's  name  will  always  be  mainly  associated 
with  stipple  engraving,  he  is  entitled  to  an  equally  high  considera- 
tion as  a  line  engraver — indeed,  some  authorities  consider  his  line 
engravings  to  be  his  finest  plates. 

Of  plates  engraved  by  him  we  know  of  over  two  thousand, 
omitting  his  early  works  as  an  apprentice. 

ANDREW  W.  TUER,  44  BARTOLOZZI  AND  HIS  WORKS." 

Engravings  from  a  Series  Entitled  u  Eighty -two 
Prints,  Engraved  by  F.  Bartolozzi,  etc,  from 
the  Original  Drawings  of  Giovanni  Fran- 
cesco Barbieri,  Called  Guercino,  in 
the  Collection  of  His  Majesty!' 

Four  Women,  with  a  Boy.    (T.  350.) 

Three  Women,  with  a  Boy  Lying  Down.    (T.  351.) 

Virgin  Mary,  Joseph  and  Child,  with  a  Globe.    (T.  352.) 

Three  Women,  with  a  Palette  and  Sketch  of  a  Design.  (T.  353.) 

Virgin,  Infant  and  Joseph,  with  an  Angel  Playing  on  a  Violin. 

(T.  354.) 
Two  Boys.    (T.  357.) 
Flora,  with  a  Boy.    (T.  360.) 
Virgin,  and  Child  Holding  a  Book.    (T.  361.) 
Old  Man,  Woman  and  Boy,  with  a  Model  of  a  Town.    (T.  362.) 
St.  John  in  the  Wilderness.    (T.  363.) 
Sophonisba,  with  a  Bowl.    (T.  364.) 


io3 


Warrior,  with  a  Truncheon.    (T.  365.) 

A  Sibyl,  with  a  Book.    (T.  366.) 

A  Turkish  Woman  Reading.    (T.  367.) 

Queen  Esther  and  King  Ahasuerus.    (T.  369.) 

A  Vocal  Concert.    (T.  370.) 

A  Sacrifice.    (T.  371.) 

St.  Matthew,  with  an  Angel  and  a  Book.    (T.  372.) 

Virgin,  Infant  and  St.  John.    (T.  373.) 

St.  Paul  Reading.    (T.  375.) 

Eight  Heads,  Men  and  Women.    (T.  376.) 

St.  Jerome.    (T.  382.) 

Young  Woman  in  a  Thoughtful  Attitude.    (T.  384.) 

Woman,  with  a  Book.    (T.  385.) 

Woman  Studying.    (T.  386.) 

Portrait  of  a  Woman.    (T.  387.) 

Portrait,  with  Naked  Shoulders.    (T.  390.) 

Woman,  with  a  Turban.    (T.  391.) 

Virgin  Teaching  the  Infant  Jesus.    (T.  393.) 

The  Almighty  in  the  Clouds,  with  Two  Boy  Angels.    (T.  394.) 

Lady,  Boy  and  Two  Old  Men.    (T.  396.) 

Cupid,  with  a  Dart.    (T.  398.) 

Salvator  Mundi,  with  a  Globe  and  a  Cross.    (T.  399.) 
Portrait  of  a  Young  Man.    (T.  400.) 
The  Cornaro  Family.    (T.  401.) 
Portrait  of  a  Lady.    (T.  402.) 

Two  Young  Women,  One  with  Her  Back  Towards  the  Beholder. 

(T.  403.) 
A  Pope  with  a  Book.    (T.  404.) 

Male  Portrait,  with  Drapery  Over  Shoulders.    (T.  405.) 

Other  Prints  Engraved  from  the  Original  Draw- 
ings of  Giovanni  Francesco  Barbieri, 
Called  Guercino. 

Three  Saints,  the  Virgin  and  Child  in  the  Clouds. 
Mother  and  Child. 
Flora,  with  a  Cupid. 


104 

Boys  Playing  with  a  Bird. 

Two  Young  Girls,  One  Holding  a  Cage. 

A  Family  Praying. 

A  Boy  Reading. 

Woman  and  Child,  with  a  Cupid. 
Two  Women  and  a  Child. 


Engravings  from  a  Series  Entitled  "Original  De- 
signs of  the  Most  Celebrated  Masters  of 
the  Bolognese,  Roman,  Florentine 
and  Venetian  Schools,  in  His 
Majesty's  Collection!' 

Portrait  of  Leonardo  da  Vinci,  drawn  by  himself.  Stipple. 
(T.  677.) 

A  Man's  Head,  large  front  face,  after  L.  da  Vinci.  Stipple. 
(T.  682.) 

A  plate  of  Mechanics,  after  L.  da  Vinci.    Line  engraving. 
(T.  683.) 

Three-quarter  figure,  after  L.  da  Vinci.    Stipple.    (T.  684.) 
Dante  and  Other  Poets,  after  L.  da  Vinci.    Line  engraving. 
(T.  685.) 

A  Man's  Head,  after  L.  da  Vinci.    Stipple.    (T.  686.) 
Female  Head,  after  L.  da  Vinci.    Line  engraving.    (T.  687.) 
Portrait   of   Annibal   Caracci,  drawn   by  himself.  Stipple. 
(T.  689.) 

Abraham  Entertaining  Three  Angels,  after  Lodovico  Caracci. 
Line  engraving.    (T.  690.) 

An  Old  Man's  Head,  after  Annibal  Caracci.   Stipple.   (T.  691.) 
Jacob's  Vision,  after  Lodovico  Caracci.  Line  engraving.  (T.  692.) 
A  Monk's  Head,  after  Annibal  Caracci.    Stipple.    (T.  693.) 
Birth  of  Pyrrhus,  after  Agostino  Caracci.   (Plutarch,  Vol.  III., 

p.  1.)    Line  engraving  and  stipple.    (T.  694.) 
Young  Man's  Head,  after  Annibal  Caracci.    Stipple.    (T.  695.) 
Old  Man's  Head,  after  Annibal  Caracci.    Stipple.    (T.  696.) 


*°5 

Other  Prints  Engraved  After  the  Same  Masters. 

Night,  after  Annibal  Caracci.  Line. 

"  He  was  Wounded  for  Our  Transgressions."  Stipple.  (Printed 
in  colors.) 

The  First  Lesson,  after  Guercino.  Stipple. 
Magdalen,  after  Sassof errato.  Stipple. 

Stipple  Engravings  After  G.  B.  Cipriani. 

Geography. 

The  Distressed  Mother. 
Love  Cares'd. 

Prudence  Endeavoring  to  Restrain  Beauty  from  Following  the 

Insinuations  of  Love. 
Ceres. 
Pomona. 
Wisdom. 
Cupids  Bathing. 
Cupid  and  Psyche. 

A  Naked  Venus  and  Two  Nymphs  Asleep,  Attended  by  Cupids. 
Britannia  Showing  a  Shield.    Line  and  stipple. 

Stipple  Engravings  After  Angelica  Kauffman. 

Religion. 
Griselda. 
Cupid. 

Una  and  the  Lion. 

A  Woman  Turned  in  Profile  to  the  Right. 
A  Young  Woman  Withdrawing  Her  Veil. 
Rinaldo  and  Armida. 

Engravings  After  His  Own  Designs. 

A  South  Sea  Islander,  for  "  Cook's  Voyages  to  the  Pacific 
Ocean."  Line. 

Finis  Plate  for  "Cook's  Voyages  to  the  Pacific  Ocean."  Line. 
Frontispiece  for  "  W.  Wheatstone's  National  Melodies."  Line. 
Portrait  of  a  Lady.  Stipple. 


io6 

Other  Engravings. 

Hope,  after  J.  H.  Ramberg.  Stipple. 
Frontispiece  for  a  book,  after  F.  Vieira.  Line. 

WEIROTTER,   FRANZ    EDMUND.     [German  School, 

1730-1771.] 

Born  at  Innspruck  in  1730. 

Having  learned  the  rudiments  of  design  in  his  native  city  and 
at  Mayence,  he  went  to  Paris,  where  he  studied  under  J.  G.  Wille 
and  became  an  able  landscape  draughtsman.  He  afterwards  visited 
Italy,  and  on  his  return  to  Paris  brought  back  a  large  collection  of 
sketches. 

In  1767  he  was  appointed  Professor  to  the  Vienna  Academy, 
and  died  in  Vienna  in  1771.  He  etched  a  great  number  of  plates 
of  landscapes,  views  of  ruins,  cottages,  bridges,  churches,  etc., 
which  seem  to  have  been  well  received. 

ANDREAS  ANDRESEN,  "  HANDBUCH  FUR  KUPFERSTICHSAMMLER." 

"  Weirotter  was  very  fond  of  picturesque  buildings,  of  which 
he  etched  an  immense  variety,  usually  composing  them  very  hap- 
pily with  other  materials,  such  as  marine  subjects,  figures  and 
landscape.  He  had  the  great  artistic  quality  of  being  able  to  reach 
the  tonality  he  aimed  at,  in  which  he  seems  to  have  had  a  certainty 
equal  to  that  of  a  painter,  and  many  of  his  etchings  are  almost  as 
complete,  in  this  respect,  as  pictures.  They  are  frequently  lumi- 
nous and  agreeable  in  aspect  ;  they  are  also  much  nearer  to  the 
feeling  of  modern  students  of  the  picturesque  than  the  work  of 
older  masters  usually  is."  (P.  G.  Hamerton,  "Etching  and 
Etchers,"  pp.  113-114.) 

The  Camp  in  the  Woods. 

Andresen,  No.  4. 

One  of  a  series  of  twelve  landscape  plates  dedicated  by  the 
etcher  to  J.  G.  Wille. 

A  Rustic  Bridge. 

Andresen,  No.  7. 
Second  state. 

From  a  drawing  by  Johann  Friedrich  Dietrich.  A  companion 
plate  to  "  The  Waterfall." 


107 

ZUCCHI,  GUISEPPE.    [English  School.] 

Son  of  Francesco  Zucchi,  and  brother-in-law  of  Angelica 
Kauffman,  several  of  whose  designs  he  engraved. 

Young  Woman  with  a  Rosary. 
Head  of  a  Man. 
Head  of  a  Soldier. 
Landscape  with  a  Castle. 

After  Claude  Lorraine. 

Saint  Peter  Repenting. 

After  Guercino. 


TOROND,  F.    [English  School.] 

An  English  engraver  and  humorous  draughtsman,  practising 
about  the  middle  of  the  eighteenth  century,  of  whom  nothing 
definite  is  known. 

Head  of  a  Man. 


WOOLLETT,  WILLIAM.   [English  School,  1735-1785.] 
Born  at  Maidstone,  Kent,  August  15,  1735. 

He  was  sent  to  London  by  his  father,  who  placed  him  as  ap- 
prentice to  John  Tinney,  of  Fleet  Street,  an  inferior  engraver,  re- 
membered only  on  account  of  his  famous  pupil.  Later  Woollett 
became  a  pupil  of  Vivares,  but  formed  a  style  of  his  own,  success- 
fully combining  the  use  of  aqua-fortis,  the  dry-point  and  the  burin, 
and  producing  landscape  engravings  of  a  perfection  unknown  be- 
fore his  time.  In  his  exquisite  prints,  after  Richard  Wilson,  he  has 
impressed  on  the  copper  the  very  mind  and  feeling  of  that  classic 
painter. 


io8 

His  plates,  after  Claude  Lorraine,  have  never  been  surpassed. 

In  1766  Woollett  was  received  into  the  Incorporated  Society  of 
Artists,  of  which  he  subsequently  became  Secretary.  On  Novem- 
ber 27,  1775,  he  was  appointed  Engraver  to  the  King. 

His  character  as  a  man  was  exemplary,  and  his  contemporaries 
speak  of  him  as  being  modest  and  amiable  and  free  from  jealousy 
of  other  artists. 

He  died  in  London,  May  23,  1785,  from  the  effects  of  an  injury 
received  some  years  before  while  playing  at  Dutch  Pins.  He  was 
buried  in  old  St.  Pancras  churchyard,  and  a  memorial  to  him  has 
since  been  placed  in  the  west  cloister  of  Westminster  Abbey. 

"  With  respect  to  the  grand  and  sublime,  the  whole  world  can- 
not produce  his  equal."  (Strutt.) 

"  His  engravings  are  rivalled  by  none  but  the  superb  etchings 
of  Claude."  (Duplessis.) 

Jacob  and  Laban.    "II  Ponte." 

From  the  painting  by  Claude  Lorraine. 

Proof  before  all  letters  ;  with  only  the  coat  of  arms,  the  names 
of  the  artists  and  of  the  publisher,  Boydell,  traced  with  the  needle. 

The  picture  was,  in  1869,  in  Col.  Egremont  Wyndham's  collec- 
tion at  Petworth.  Waagen.  Treasures,  III.,  p.  33.  Smith.  Cat. 
rais.;  "  Claude,"  No.  134. 

Niobe. 

From  the  painting  by  Richard  Wilson. 

The  subject  is  taken  from  Ovid's  Metamorphoses. 

Engraved  from  the  second  picture  of  this  subject  painted  by 
Richard  Wilson,  differing  somewhat  from  the  first,  which  is  en- 
graved by  Samuel  Smith.  A  similar  picture  is  in  the  Vernon  Gal- 
lery. Waagen.  Treasures,  I.,  p.  367.  And  another  in  the  Bridge- 
water  Gallery.    Waagen.    Treasures,  II.,  p.  53. 

Phaeton. 

From  the  painting  by  Richard  Wilson  in  the  collection  of  His 
Grace,  the  Duke  of  Bridgewater. 

Ceyx  and  Alcyone.    A  Marine  View. 

From  the  painting  by  Richard  Wilson. 


109 

VITALBA,  GIOVANNI.    [Italian  or  English  School,  1740- 

1791.  (?)] 

Born  about  1740. 

Flourished  about  1765.  He,  like  Bartolozzi,  was  a  pupil  of 
Wagner,  upon  whose  style  his  early  work  is  modelled. 

In  1765  he  came  to  England  and  studied  under  Bartolozzi. 
His  later  work  shows  strongly  the  influence  of  this  artist.  He  was 
still  living  in  1790. 

Saint  Joseph  and  the  Infant  Saviour. 

After  a  drawing  by  Guercino. 

Angel  and  Child. 

After  a  drawing  by  Guercino. 

Virgin,  with  Angel  Holding  a  Book. 

After  a  drawing  by  Guercino. 

A  Man  in  Meditation. 

After  a  drawing  by  Guercino. 

A  Young  Man  in  Meditation. 

After  a  drawing  by  Guercino. 

NOBLE,  GEORGE.    [English  School.] 
Pupil  of  Bartolozzi. 

The  Singing  Lesson. 

After  a  drawing  by  Guercino. 

BIRCHALL,  T.    [English  School.] 
Painting. 

After  a  design  by  Angelica  Kauffman. 


no 


KAUFFMAN,  MARIA  ANNA  ANGELICA  CATHARINA. 

[English  School,  1741-1807.] 


Born  at  Chur,  in  the  Grisons,  in  1741. 

Pupil  of  her  father,  Johann  Joseph  Kauffman. 

So  rapid  was  her  progress  in  painting,  that  in  1754  the  family- 
moved  to  Milan,  in  order  that  Angelica  might  spend  her  time  in 
copying  the  works  of  the  best  masters. 

In  1757  her  mother  died,  and  the  family  then  went  to  Florence, 
and  in  1759  to  Rome,  where  her  talents  excited  the  greatest  ad- 
miration. 

In  1764  she  went  to  Venice  and  in  the  next  year  moved  to  Eng- 
land, where  she  was  received  with  distinction,  and  upon  the  founda- 
tion of  the  Royal  Academy,  in  1768,  was  nominated  one  of  the 
thirty-six  original  members. 

There  is  still  some  uncertainty  concerning  her  reported  mar- 
riage with  a  Swedish  Count,  de  Horn,  but  she  seems  to  have  rid 
herself  of  him  in  some  way,  since  in  1781  she  married  Antonio 
Zucchi,  a  Venetian  painter  and  an  associate  of  the  Royal  Academy, 
and  left  London  with  him  a  few  days  after  the  ceremony. 

In  1783  she  moved,  with  her  husband,  to  Rome,  where  she  died 
in  1807.    She  is  buried  in  Sant'  Andrea  delle  Frate. 

She  etched  a  dozen  or  more  plates.  They  are  executed  with 
taste  and  spirit. 


Etched  in  1770  from  her  own  design. 

DELATRE,  JEAN  MARIE.    [English  School,  1745-1840.] 
Born  at  Abbeville  in  1745. 

After  working  for  some  time  in  Paris,  he  came,  in  1770,  to 
London,  where  he  became  Bartolozzi's  pupil  in  the  stippled  man- 
ner of  engraving  and,  later,  his  principal  assistant. 

He  engraved  many  plates  after  Angelica  Kauffman,  G.  B. 
Cipriani  and  other  artists  in  a  very  delicate  and  finished  manner. 

He  was  one  of  the  Governors  of  the  Society  of  Engravers,  and 
in  his  later  years  was  a  pensioner  of  Peter  Harvey's  Society. 

Died  June  30,  1840. 


Portrait  of  Angelica  Kauffman. 


After  F.  Bartolozzi. 


Ill 


Peace  and  Temperance. 

After  Angelica  Kauffman. 


SHARP,  WILLIAM.    [English  School,  1749-1824.] 
Born  in  London,  January  29,  1749. 

At  an  early  age  he  showed  a  strong  inclination  for  drawing, 
and  was  apprenticed  by  his  father,  a  gunmaker  of  some  repute,  to 
Barak  Longmater,  an  engraver  on  plate,  who  was  also  well  skilled 
in  heraldry. 

At  the  expiration  of  his  term  of  apprenticeship  he  commenced 
business  as  a  card-plate  engraver,  and  in  1775  executed  his  plate  of 
"Hector"  (an  old  lion,  at  that  time  an  inmate  of  the  Tower  of 
London)  from  his  own  drawing.  This  engraving  brought  him  some 
recognition,  but  his  reputation  was  more  widely  spread  by  his  en- 
gravings after  some  of  Stothard's  designs  for  the  "Novelist's 
Magazine." 

In  1782  Alderman  Boydell  published  Sharp's  plate  of  "Alfred 
the  Great  Dividing  His  Loaf  with  the  Pilgrim,"  after  Benjamin 
West,  and  three  years  later,  in  1785,  the  masterpiece  of  the  en- 
graver, "The  Doctors  of  the  Church,"  appeared. 

From  this  time  onward  fine  plates  were  produced  in  quick 
succession.  Few  engravers  have  been  so  equal,  yet  so  varied  ;  few 
translators  so  true,  yet  so  original. 

His  professional  fame  was  widely  spread  even  in  his  lifetime, 
and  in  1814  he  was  elected  a  member  of  the  Imperial  Academy  at 
Vienna,  and  of  the  Royal  Academy  of  Bavaria. 

Sir  Joshua  Reynolds  desired  to  propose  him  for  membership 
in  the  Royal  Academy  (London),  but  Sharp  preferred  to  remain 
outside  the  institution  that  excluded  such  engravers  as  Sir  Robert 
Strange  and  William  Woollett. 

His  last  important  plate,  "  Mary  Magdalen,"  after  Guido  Reni, 
was  finished  in  1822,  in  the  seventy-fourth  year  of  his  age,  and 
shows  no  signs  of  failing  powers. 

He  died  at  Chiswick  on  July  25,  1824,  and  lies  buried  in  the 
churchyard  at  that  place,  where  Hogarth  and  De  Loutherbourg 
also  lie. 

W.  S.  BAKER,  "WILLIAM  SHARP,  ENGRAVER." 


CHARLES  SUMNER,  "THE  BEST  PORTRAITS  IN  ENGRAVING." 


112 


The  Doctors  of  the  Church. 

Baker,  No.  13. 

After  the  painting  by  Guido  Reni. 

"  The  picture,  formerly  in  the  Houghton  Gallery,  now  in  the 
Imperial  Gallery  at  St.  Petersburg,  painted  for  Paul  V.,  represents 
the  four  Latin  Doctors  of  the  Church,  St.  Jerome,  St.  Ambrose, 
St.  Augustine  and  St.  Gregory,  arguing  and  consulting  their  great 
books  for  the  authorities  on  the  subject  of  the  favorite  doctrine  of 
the  Catholic  Church,  the  'Immaculate  Conception,'  which  was 
confirmed  by  Pope  Paul  V.  in  a  bull  issued  in  1617.  With  the  four 
Doctors  are  presented  St.  John  Damascene  and  St.  Ildefonso,  who 
were  especial  defenders  of  the  doctrine. 

This  picture,  painted  in  Guido's  early  and  more  powerful 
manner,  was  eminently  suited  to  the  innate  vigor  of  the  engraver, 
and  his  translation  of  it  is  a  work  of  art  in  its  truest  sense.  Every 
part  of  it  is  managed  with  the  most  consummate  skill,  and  in  the 
finest  keeping  ;  the  drapery  well  and  nobly  arranged,  the  deep 
thought  and  character  of  each  head  admirably  rendered,  the  anat- 
omy most  carefully  developed,  and  the  drawing  perfect  ;  a  pro- 
found sense  of  meditation  pervades  the  whole,  well  fitting  the 
character  of  the  scene.  Sharp  considered  it  his  best  work."  (W. 
S.  Baker,  "  William  Sharp,  Engraver,"  pp.  14-15.) 

"  His  splendid  qualities  appear  in  the  Doctors  of  the  Church, 
which  has  taken  its  place  as  the  first  of  English  engravings.  .  .  . 
I  remember  well  that  this  engraving  by  Sharp  was  one  of  the  few 
ornaments  in  the  drawing-room  of  Macaulay  when  I  last  saw  him, 
shortly  before  his  lamented  death."  (Charles  Sumner,  "  The  Best 
Portraits  in  Engraving,"  pp.  29-30.) 

Portrait  of  John  Hunter. 

Baker,  No.  54. 

After  the  painting  by  Sir  Joshua  Reynolds. 

"  It  is  of  portraits  especially  that  I  write,  and  here  Sharp  is 
truly  eminent.  All  that  he  did  was  well  done  ;  but  two  were 
models  ;  that  of  Mr.  Boulton,  a  strong,  well-developed  country  gen- 
tleman, admirably  executed,  and  that  of  John  Hunter,  the  eminent 
surgeon,  after  the  painting  by  Sir  Joshua  Reynolds,  in  the  London 
College  of  Surgeons,  unquestionably  the  foremost  portrait  in  Eng- 
lish art,  and  the  coequal  companion  of  the  great  portraits  of  the 
past ;  but  here  the  engraver  united  his  rare  gifts  with  those  of  the 
painter."  (Charles  Sumner,  "  The  Best  Portraits  in  Engraving," 
P-  3o.) 


H3 

MARCUARD,  ROBERT  SAMUEL.   [English  School,  1751- 

I792.(?)] 

An  English  designer  and  engraver.  Born  in  1 75 1,  died  about 
1792.  He  was  a  pupil  of  Bartolozzi,  whose  manner  of  engraving 
he  followed,  and  was  considered  one  of  the  best  scholars  of  that 
master. 

Music. 

After  P.  da  Cortona. 


DIGHTON,  ROBERT.    [English  School,  1752-1814.] 
Born  in  1752. 

An  English  portrait  painter  and  caricaturist.  He  occasionally 
exhibited  at  the  Royal  Academy. 

In  1799  ne  brought  out  a  "Book  of  Heads,"  and  thenceforth 
devoted  himself  to  caricature. 

He  is,  however,  chiefly  remembered  in  connection  with  thefts 
of  prints  from  the  British  Museum  between  the  years  1794  and 
1806.    (See  Louis  Fagan,  "Collectors'  Marks,"  pp.  24-26.) 

Dighton  died  in  London  in  1814. 


Head  of  an  Old  Man. 

After  Guercino. 


The  Angel  Appearing  to  Joseph. 

After  Guercino. 


Old  Man  with  a  Staff. 

After  Guercino. 


A  Vocal  Concert. 

After  Guercino. 


ii4 


STUBBS,  GEORGE  TOWNLEY.    [English  School,  1756- 

1815.] 

Born  1756,  died  1815. 

Son  of  George  Stubbs,  A.  R.  A.  (17  24-1 806.) 
He  engraved,  in  mezzotint,  several  of  his  father's  pictures  of 
animals,  and  a  few  plates  after  the  works  of  others. 

The  Combat. 

After  the  painting  by  George  Stubbs. 

BARTSCH,  ADAM.    [German  School,  1757-1821.] 
Born  at  Vienna  in  1757. 

Pupil  of  Schmiitzer.  In  1775  he  published  designs  of  medals 
made  during  the  reign  of  Maria  Theresa,  and  subsequently  en- 
graved many  plates,  some  from  the  works  of  the  great  masters  and 
some  from  his  own  compositions. 

He  was  principal  keeper  of  the  Imperial  and  Royal  Gallery, 
at  Vienna,  and  the  author  of  "Le  Peintre  Graveur,"  in  21  volumes. 
He  also  published  catalogues  of  the  Etchings  of  Rembrandt  and 
his  scholars,  and  of  the  works  of  Guido  Reni,  Lucas  van  Leyden 
and  other  artists. 

Bartsch  died  at  Vienna  in  182 1. 

Boys  with  a  Cloak. 

Etched  in  1805  from  a  design  by  Guercino. 

TOMKINS,  PELTRO  WILLIAM.    [English  School,  1760- 

1840.] 

Born  in  London  in  1760. 

The  son  of  William  Tomkins,  A.  R.  A.,  a  landscape  painter. 
A  pupil  of  Bartolozzi,  who  appears  to  have  entertained  for  him 
almost  the  affection  of  a  parent ;  and  said  of  him  :  "  He  is  my 
son  in  art  ;  he  can  do  all  that  I  can  in  this  way,  and  I  hope  will  do 
more."  His  reputation  as  an  engraver  in  the  stipple  manner  was 
early  established,  and  in  1793  he  was  appointed  Engraver  to  Queen 
Charlotte.  Many  of  his  plates  are  very  beautiful,  some  being  of 
such  fineness  that  they  cannot  be  distinguished  from  those  of  his 
master — Bartolozzi. 

He  died  April  22,  1840. 


"5 


A  Figure  With  Drapery ;  Perhaps  Dante. 

After  L.  da  Vinci. 

Head  of  a  Girl. 

After  L.  da  Vinci. 

Apotheosis  of  Saint  Francis. 

After  Lodovico  Caracci. 

An  Allegorical  Composition. 

After  L.  da  Vinci. 


FONTANA,  PIETRO.    [Italian  School,  1763-1837.] 

Born  at  Bassano  in  1763.  Died  at  Rome  in  1837.  His  style  is 
modelled  upon  that  of  Volpato  and  Raphael  Morghen. 

The  Venus  de  Medici. 

Engraved,  in  Rome,  in  1819. 

The  original  marble  statue  is  in  Florence. 


SCHIAVONETTI,   LOUIS.     [English   School,  1765-1810.] 

Born  at  Bassano,  in  the  territory  of  the  Venetian  Republic,  on 
April  1,  1765. 

He  was  the  son  of  a  stationer,  and  from  his  earliest  years 
showed  a  remarkable  taste  for  art. 

At  the  age  of  thirteen  he  was  placed  as  pupil  with  Giulio 
Golini,  but  at  the  death  of  his  master,  in  1781,  commenced  to  study 
the  process  of  engraving  with  Lorio. 

In  1790,  at  the  invitation  of  Bartolozzi,  Schiavonetti  came  to 
England  and  was  there  largely  employed  by  the  publishers  on  book 
illustrations.  He  was  eminent  both  in  the  line  and  stipple  methods 
of  engraving  and  often  used  them  in  combination. 

He  died  at  Brompton,  June  7,  1810. 

ANDREW  W.  TUER,  "  BARTOLOZZI  AND  HIS  WORKS,"  Vol.  II.,  pp. 
64-65. 


n6 

The  Virgin,  Child  and  Saint  Anne. 

From  the  drawing  by  A.  Caracci  in  His  Majesty's  Collection. 


WARD,  WILLIAM.    [English  School,  1766-1826.] 

Born  in  London,  1766.  Died  December  21,  1826.  Brother  of 
James  Ward,  the  celebrated  animal  painter,  and  father  of  W.  J. 
and  M.  T.  Ward.  Brother-in-law  of  George  Morland,  after  whose 
paintings  many  of  his  finest  plates  were  engraved. 

In  1814  he  was  elected  an  Associate  of  the  Royal  Academy,  and 
was  appointed  mezzotint  engraver  to  the  Prince  Regent  and  the 
Duke  of  York. 

He  died  very  suddenly,  December  1,  1826. 

JOHN   CHALONER    SMITH,   "  BRITISH   MEZZOTINTO  PORTRAITS," 
Vol.  IV.,  pp.  1453-1487. 

Portrait  of  Count  Platoff. 

Smith,  No.  68,  page  1477. 

From  the  painting  by  T.  Phillips,  R.  A. 

The  horses  were  painted  by  James  Ward,  R.  A. 

Count  Platoff  was  born  in  Southern  Russia,  about  1765.  He 
was  Hetman  or  Chief  of  the  Cossacks  of  the  Don,  and  rendered 
great  services  as  a  cavalry  general  in  the  campaigns  from  1806- 
1815.    He  died  in  February,  1818. 


AUDOUIN,  PIERRE.    [French  School,  1768-1822.] 

Born  in  Paris  in  1768. 
A  pupil  of  Beauvarlet. 

He  engraved  a  number  of  plates  for  the  "  Musee  Francais," 
published  by  Laurent,  and  several  after  some  of  the  finest  works  of 
the  Dutch  and  Italian  masters. 

He  died  in  Paris  in  1822. 

A  Girl  With  an  Arrow.    ("II  n' est  plus  terns." ) 

From  the  painting  by  P.  Bouillon. 


ii7 


FREY,  JAN    PIETER  VAN  or  DE.     [Dutch  School, 

1770-1834.] 

Born  at  Amsterdam  in  1770. 
A  pupil  of  Jacob  Lauwers. 

Deprived  by  nature  of  the  use  of  his  right  hand,  he  had  the 
courage  to  practice  the  art  of  etching  with  his  left,  and  by  indus- 
try and  application  overcame  every  difficulty. 

He  became  distinguished  in  his  profession  and  settled  in  Paris, 
where  he  died  in  1834. 

He  etched  many  plates  in  a  spirited  manner,  after  the  works  of 
Rembrandt,  Flinck  and  Gerard  Dow. 

Portrait  of  Rembrandt. 

From  the  painting  by  Rembrandt. 


WATTIER,  EMILE.    [French  School,  1800-1868.] 
Born  in  Paris,  1800. 

Painter,  lithographer,  caricaturist,  engraver  and  vignettist. 
His  work  is  varied  in  subject  and  unequal  in  merit,  but  his 
best  subjects  are  after  Watteau  and  Boucher. 
Died  1868. 

L  Amour  Vendangeur. 

Lithograph,  after  Boucher. 

Cupidons  Volants. 

Lithograph,  after  Boucher. 


PANNIER,  JACQUES  6TIENNE.  [French  School,  1802- 

1869.] 

Born  in  Paris  in  1802.    Died  in  1869. 
Pupil  of  Abel  and  of  Pujol. 

Between  the  years  1834  and  1841  his  attention  was  given  to 


Tl8 


painting,  and  he  exhibited  a  number  of  works.  Later,  he  devoted 
himself  to  engraving  and  produced  many  finely  finished  plates  ; 
mostly  small  in  size. 

Portrait  of  a  Young  Man. 

From  the  painting  by  Velasquez. 

Engraved  in  1846,  as  Velasquez's  own  portrait. 

The  original  painting  is  in  the  Historical  Museum  at  Versailles. 


WORKS  OF  CONTEMPORARY  ETCHERS. 


Note  :  The  Artists  whose  works  follow  are  arra 
Alphabetical  and  not  in  Chronological  Order. 


121 


APPIAN,  ADOLPHE.    [French  School.] 
Born  at  Lyons  in  1819. 

He  studied  painting  under  Corot  and  Daubigny,  and  etched 
a  number  of  beautiful  landscape  plates.  His  charcoal  drawings, 
also,  are  highly  esteemed. 

"  My  admiration  for  Appian's  work  as  an  etcher  (he  is  a  charm- 
ing painter  also)  was  already  great  several  years  ago,  but  the  more 
I  see  how  rare  his  qualities  are  in  contemporary  art,  or  in  any  art, 
the  more  I  feel  disposed  to  value  them.  His  work  is  always  quite 
easy  and  graceful  in  manner,  never  strained,  never  betraying  an 
effort,  and  it  hardly  ever  fails  to  charm  by  a  most  delicate  feeling 
for  the  poetry  of  natural  landscape. 

His  drawing  of  branches  and  trees,  whenever  they  happen  to 
come  clearly  against  what  is  behind  them,  is  always  perfectly  de- 
lightful, and  quite  as  much  detailed  as  it  need  be,  with  light  and 
shade  hinted  at  or  expressed  almost  to  the  very  extremity  of  a 
twig."    (P.  G.  Hamerton,  "  Etching  and  Etchers,"  pp.  202-203.) 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  L,  pp. 
16-17. 

P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS,"  pp.  202-207. 


Souvenir. 

"  Nothing  is  more  difficult  than  the  treatment  of  the  sky  in 
etching,  and  the  best  way  generally  is  to  leave  the  open  sky  quite 
blank,  preserving  thus  its  serenity  at  the  expense  of  its  gradation. 
If  any  shading  is  attempted  it  must  not  be  mechanical,  which  would 
be  fatal  to  the  harmony  of  the  plate.  In  the  present  instance  the 
sky  is  shaded  in  fine  taste  with  strokes,  generally  horizontal  in 
tendency,  but  never  stiffly  horizontal.  As  the  sky  is  lightly  bitten 
the  effect  is  good."  (P.  G.  Hamerton,  "  Etching  and  Etchers," 
p.  205.) 


Un  Roc  her  dans  Les  Comninnaux  de  Rix. 


Banks  of  a  Brook  at  Rossillon. 


122 


BRACQUEMOND,  FELIX.    [French  School.] 
Born  in  Paris  in  T833. 

He  studied  painting  under  Joseph  Guichard,  who  was  a  pupil 
of  Ingres,  and  sent  his  first  picture  to  the  Salon  when  he  was  nine- 
teen years  old — this  was  a  portrait  of  his  grandmother  and  was  of 
a  quality  to  attract  the  attention  of  Theophile  Gautier. 

The  next  year,  in  1853,  Bracquemond  exhibited  a  portrait  of 
himself  which  received  favorable  mention  from  many  critics.  This 
portrait  is  the  one  etched  by  Rajon  and  represents  Bracquemond 
standing  and  holding  a  jar  of  acid. 

In  1849  his  first  etchings  were  made,  and  so  rapid  was  his  prog- 
ress in  this  art  that  three  years  later  one  of  his  finest  plates  was 
executed — "  Le  Haut  d'tin  Battant  de  Porte." 

Although  his  remarkable  powers  as  an  etcher  were  recognized 
by  artists  and  a  few  of  the  critics,  the  general  buying  public  and  the 
government  gave  him  little  encouragement.  His  etched  portrait 
of  Erasmus,  after  the  painting  by  Holbein,  which  had  been  ordered 
by  the  Minister  of  Fine  Arts  for  the  Chalcographie  du  Louvre, 
was  refused  by  the  Salon  jury  in  1863. 

It  was  while  studying  the  original  of  the  "  Erasmus  "  in  the 
Louvre  that  Bracquemond  was  first  attracted  to  the  enamels  of 
Limousin.  He  endeavored  to  make  portraits  in  this  manner  and 
eventually  studied  the  technical  process  under  Deck. 

In  1872  he  was  offered  the  position  of  Director  of  the  Art  De- 
partment at  the  establishment  of  Haviland,  at  Limoges. 

Here  he  designed  porcelain  of  all  kinds,  from  the  smallest 
dinner  plate  to  the  celebrated  "  Centennial  Commemorative  Vase," 
exhibited  at  the  Philadelphia  Exhibition  of  1876. 

Bracquemond  has  etched  over  six  hundred  plates  and  has  re- 
ceived all  the  medals,  including  the  grand  medal  of  honor  in  1884. 
(It  should  have  been  given  to  him  years  before  !) 

He  was  made,  in  1889,  an  officer  of  the  Legion  of  Honor,  and 
at  the  Universal  Exposition  was  appointed  a  member  of  the  Jury 
on  Etching. 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  III. 
P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS,"  pp.  224-225. 

Lapwings  and  Teal.  ( Vanneaux  et  Sarcelles.) 

"  Each  bird  is  studied  separately,  the  whole  force  of  the  artist's 
attention  being  concentrated  upon  it  exclusively,  without  embrac- 
ing the  composition  as  a  whole.    A  large  flower  comes  against  the 


I23 


nearest  lapwing  ;  every  petal  of  it  is  strongly  outlined,  and  then 
the  surface  is  flatly  shaded  without  any  modulation  from  incident 
of  light.  The  principle  of  this  work  is  not  at  all  a  bad  principle 
for  some  kinds  of  decoration  ;  it  is  quite  right  on  a  dinner  service 
or  a  screen,  and  we  are  very  familiar  with  it  in  Japanese  art ;  but 
it  is  wrong  in  pictorial  art,  and  consequently  in  artistic  etching, 
which  ought  to  be  synthetic  above  all  things."  (P.  G.  Hamerton, 
"  Etching  and  Etchers,"  p.  225.) 


BUHOT,  FELIX.    [French  School.] 
Born  at  Valognes  in  1847. 

In  1865  the  Faculty  of  Caen  conferred  upon  him  the  degree  of 
Bachelor  of  Letters. 

At  the  close  of  the  year  1865,  Buhot  moved  to  Paris,  where, 
for  a  time,  he  continued  his  literary  studies,  but  in  the  next  year 
entered  the  studio  of  Lecocq  de  Boisbaudran. 

He  next  went  through  the  course  at  the  School  of  Fine  Arts 
and  the  studio  of  Pils,  and  finally  studied  under  the  marine  painter, 
Jules  Noel. 

In  1870  the  outbreak  of  war  ended,  for  the  time  being,  his  art 
studies.  He  was  enrolled  in  the  militia  of  Brittany,  which  fought 
under  General  Chanzy  against  the  Germans. 

Buhot  rose  to  the  rank  of  sergeant-major  and  at  the  close  of 
the  war  returned  to  the  university,  where  he  became  a  teacher  in 
the  College  Rollin. 

Four  years  later,  having  perfected  a  new  system  of  instruction 
in  drawing,  he  left  the  College  Rollin  and  took  a  studio  in  the 
Passage  de  l'Elysee  des  Beaux  Arts,  where  he  devoted  himself  en- 
tirely to  his  art. 

In  1888  the  first  public  exhibition,  in  America,  of  his  collected 
work,  was  made  by  Messrs.  Frederick  Keppel  &  Co.,  and  since  that 
time  his  reputation  as  an  original  artist  has  been  unquestioned  by 
the  majority  of  print  collectors  in  America. 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  IV.,  pp. 
25-35- 

PHILIPPE  BURTY,  44  F^LIX  BUHOT,  PAINTER  AND  ETCHER."  Har- 
per's Monthly  Magazine,  February,  1888. 


The  Embarcation. 


124 


DETAILLE,  JEAN  BAPTISTE  EDOUARD.  [French 

School.] 

Born  in  Paris,  October  5,  1848. 

"  Detaille,  a  favorite  pupil  of  Meissonnier,  who  has  become  cele- 
brated as  a  painter  very  early  in  life,  etches  with  consummate  ease 
and  skill,  which  may  be  attributed  to  his  habit  of  making  clever 
croquis  of  what  he  sees  for  subsequent  use  in  his  pictures. 

His  two  plates,  Un  Uhlan  and  Trompette  de  Chasseurs are 
as  good  as  anything  well  can  be  in  that  light-handed,  sketchy  man- 
ner, being  full  of  the  closest  observation  expressed  with  admirable 
ease.  Any  critic  can  say  that  these  are  •  mere  sketches,'  because 
all  the  paper  is  not  blackened  ;  but  he  who  knows  what  good  draw- 
ing is,  and  where  to  look  for  it,  will  find  more  of  it  in  a  horse's  leg 
by  Detaille,  sketched  from  memory  in  five  minutes,  than  in  many 
a  laboured  engraving."  (P.  G.  Hamerton,  "  Etching  and  Etchers," 
P-  235-) 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SlfeCLE,"  Vol.  V.,  p.  208. 
P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS."  p.  235. 

Un  Uhlan. 
Trompette  de  Chasseurs  a  Cheval. 


GILLI,  ALBERTO  MASO.    [Italian  School.] 

Painter  and  etcher.  Pupil  of  the  Ecole  des  Beaux  Arts  of 
Turin.    Has  exhibited  in  Paris  since  1870. 

"  Alberto  Maso  Gilli  is  an  excessively  skillful  realist,  who  repre- 
sents the  comedy  of  bourgeois  existence  with  undeniable  force, 
both  of  expression  and  execution,  but  it  is  a  kind  of  talent  which, 
though  startling  for  the  vivid  reality  of  its  effects,  is  essentially 
vulgar  in  more  respects  than  one.  The  very  brilliance  of  the 
trompe  Vail,  so  successfully  aimed  at,  is  vulgar  in  itself.  Every 
imaginable  artifice  is  resorted  to  in  order  to  obtain  a  deceptive 
relief.  Figures  are  set  in  strong  lamplight  against  black  back- 
grounds till  they  stand  out  like  models,  and  they  are  shaded  with 
a  completeness  that  leaves  nothing  to  the  imagination.  There  can 
be  no  question,  however,  as  to  the  manual  and  technical  power 
with  which  the  purpose  is  accomplished  ;  sometimes,  indeed,  the 


125 

technical  power  is  so  striking,  that  a  more  refined  artist  might  well 
envy  the  possession  of  it."  (P.  G.  Hamerton,  "  Etching  and  Etch- 
ers," pp.  141-142.) 

HENRI  BERALDI,  "LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  VII., 
pp.  144-145. 

P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS,"  pp.  141-142. 

A  Reproach.    (Un  Rimprovero.) 

Beraldi,  No.  7. 
Etched  in  1874. 

"  In  '  Un  Rimprovero'  a  wife  is  taking  a  malicious  pleasure  in 
letting  her  husband  know  that  she  is  aware  of  some  infidelity  ;  the 
woman's  face  is  for  the  most  part  in  strong  shadow,  and  it  would 
be  difficult  to  find  in  the  greatest  works  of  the  greatest  masters  a 
more  thorough  piece  of  work  than  the  shading  of  that  face,  in 
which  every  gradation  is  attended  to,  and  every  reflection,  even  to 
the  faintest.  The  different  expressions  of  the  two  faces  are  as  life- 
like as  they  possibly  can  be,  but  all  this  technical  and  other  ability 
is  employed  to  tickle  the  tastes  of  a  very  low  section  of  the  vulgar 
continental  public."  (P.  G.  Hamerton,  "  Etching  and  Etchers," 
p.  142.) 


GRAVESANDE,  CHARLES  STORM  VAN'S.  [Dutch 

School.] 

Born  at  Breda  in  1841. 

Educated  at  the  University  of  Leyden.  Resident  in  Brussels 
since  1868.  It  was  in  Brussels  that  Gravesande,  at  the  suggestion 
of  Felicien  Rops,  first  commenced  the  practice  of  etching. 

"  Carel  Nicolaas  Storm  van  S'  Gravesande  is  a  Dutch  gentle- 
man, with  the  title  of  Jonkeer,  and  a  son  of  the  Vice-President  of 
the  House  of  Representatives,  who  is  also  a  member  of  the  Council 
of  State.  He  studied  for  the  bar,  and  took  the  degree  of  Doctor  of 
Law  at  the  University  of  Leyden,  but  having  a  strong  taste  for 
art,  quitted  legal  studies  for  the  career  of  a  painter,  to  which  he 
has  remained  faithful  since,  for  the  occasional  pursuit  of  etching 
can  scarcely  be  considered  an  infidelity  to  the  Muse  of  Painting, 
however  jealous  she  may  be. 

There  are  few  etchers  in  any  age  who  are  at  the  same  time 


126 


simple  in  their  methods  of  work,  and  original.  The  proportion  of 
such  etchers  at  the  present  day  is  small  indeed.  There  have  never 
been  so  many  etchers  at  one  time  as  there  are  now,  yet  out  of  the 
hundreds  who  practice  the  art  it  is  difficult  to  find  more  than  a 
very  few  who  express  ideas  of  their  own  directly  and  harmoniously. 
.  .  .  .  The  power  of  etching  simply  and  beautifully  at  the  same 
time  is  very  rare.  It  has  always  seemed  to  me,  and  it  seems  to  me 
still,  that  this  gift  is  the  gift  for  an  etcher."  (P.  G.  Hamerton, 
"Etching  and  Etchers,"  pp.  133-137.) 

The  first  exhibition  in  America  of  the  collected  work,  in  etch- 
ing, of  Gravesande  was  made  in  December,  1884,  by  Messrs.  Fred- 
erick Keppel  &  Co.  In  this  exhibition  were  shown  188  pieces, 
comprising  all  the  plates  that  the  artist  had  then  executed. 

In  January  and  February,  1887,  another  exhibition  of  his  work 
was  made  at  the  Boston  Museum  of  Fine  Arts  ;  and  in  February, 
1889,  a  third  exhibition  was  made  by  Messrs.  Frederick  Keppel  & 
Co.  There  were  shown  in  this  third  collection  one  hundred  draw- 
ings and  water  colors  and  ninety-four  etchings,  executed  since 
1884,  showing,  together  with  the  first  exhibition,  the  entire  etched 
work  of  the  artist  up  to  that  time. 

Professor  Richard  A.  Rice,  of  Williams  College,  who  had,  in 
1887,  compiled  the  catalogue  for  the  collection  shown  at  the  Bos- 
ton Museum  of  Fine  Arts,  contributed,  at  this  time,  an  introduc- 
tion to  the  catalogue  of  this  third  exhibition. 

HENRI   BERALDI,   "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  VII., 
pp.  223-228. 

P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS/'  pp.  133-137. 


Souvenir  des  Cressonnieres  a  Veules. 

Beraldi,  No.  63. 


Le  Retour  de  la  Peche. 

Beraldi,  No.  75. 

"  The  woodwork  is  powerfully  etched  in  line.  The  scene  is 
poetical  and  impressive,  but  not  beautiful."  (P.  G.  Hamerton, 
"  Etching  and  Etchers,"  p.  137.) 


127 


HADEN,  SIR  FRANCIS  SEYMOUR.    [English  School.] 

Francis  Seymour  Haden  was  born  in  London  on  the  16th  of 
September,  1818.  His  father  was  a  celebrated  physician  and  musical 
amateur. 

In  1837  he  took  the  medical  course  at  the  University  of  Lon- 
don, that  of  the  Sorbonne  (Paris)  in  1838,  and  filled  in  1839  the 
post  of  anatomist  at  the  Military  Hospital  of  Grenoble. 

In  1840  he  returned  to  Paris  and  passed  his  final  examinations 
in  medicine  and  surgery.  In  1842  he  became  a  Fellow  of  the  Royal 
College  of  Surgeons. 

In  1843  and  1844  he  travelled  through  Italy  with  his  friends, 
Duval  Le  Camus  and  Colonel  Guibout,  and  it  was  at  this  time  that 
the  drawings  for  his  first  etchings  (Drake,  Nos.  1  to  6)  were  made. 

In  1850,  through  his  efforts,  the  Hospital  for  Incurables  was 
founded.    It  is  to-day  a  Royal  Hospital. 

At  the  second  Universal  Exhibition  at  London,  in  1852,  he 
was,  with  Nelaton,  appointed  to  make  a  report  upon  the  section  of 
surgical  appliances  and  instruments. 

It  will  be  seen,  therefore,  that  in  the  life  of  this  busy  and  suc- 
cessful surgeon  there  was  left  little  time  for  the  active  practice  of 
art,  and  it  was  during  an  enforced  holiday,  necessitated  by  over- 
work, that  the  majority  of  his  earlier  plates  were  etched. 

M.  Philippe  Burty,  criticising  the  Salon  of  1859,  discovered  to 
the  art  world  of  Paris,  in  an  eloquent  article,  the  etchings  of  Sey- 
mour Haden,  and  in  1862  (having,  meanwhile,  made  the  acquaint- 
ance of  the  artist  and  thoroughly  studied  his  etchings)  published, 
in  the  "  Gazette  des  Beaux  Arts,"  the  first  catalogue  of  his  etchings, 
then  numbering  about  sixty  plates. 

In  1866  appeared  the  now  famous  "Etudes  a  l'eau  forte,"  con- 
taining thirty  etchings,  including  title,  head  and  tail  pieces,  with 
critical  and  descriptive  text  by  M.  Philippe  Burty.  The  number 
of  copies  was  limited  to  250,  but  only  180  sets  were  printed,  as  some 
of  the  plates  then  began  to  show  signs  of  wear.  The  greatest  care 
was  taken  with  the  printing  of  the  etchings,  all  inferior  impressions 
being  destroyed,  so  that  the  publication — a  grand  artistic  success — 
was  a  financial  loss  to  the  artist. 

M.  Beraldi  notes,  amongst  others,  two  points  of  interest,  inno- 
vations at  that  time,  concerning  this  publication.  Firstly,  that  the 
"  Etudes  a  l'eau  forte  "  was  published  not  as  a  book  nor  as  an  albu??i, 
but  as  a  portfolio  of  etchings  ;  and  secondly,  that  instead  of  being 
printed  with  wide  margins  the  etchings  were  trimmed  to  small 
margins  and  mounted  upon  bristol  board. 


128 


Mr.  Hamerton  writes,  "  No  issue  of  etchings  ever  had  such 
rapid  and  complete  success.  The  reviews  of  them  were  very 
numerous  ;  all  the  London  papers  noticed  them,  and  every  review 
was  in  a  strain  of  almost  unmixed  eulogy.  The  subscription  list 
was  rapidly  filled,  though  the  price  went  beyond  even  English 
custom,  and  in  a  few  weeks  one  of  the  busiest  surgeons  in  London 
found  himself  one  of  its  most  celebrated  artists." 

No  Englishman  (unless  it  be  the  late  Philip  Gilbert  Hamerton, 
by  his  book  "  Etching  and  Etchers")  contributed  so  much  toward 
the  revival  of  etching  in  England  as  did  Seymour  Haden.  Through 
his  efforts  the  Association  of  Painter-Etchers  was  founded,  and 
when,  later,  it  was  raised,  by  decree  of  the  Sovereign,  to  the  degree  of 
a  Royal  Society,  Seymour  Haden  was  elected  as  its  first  President. 
As  President  and  founder,  therefore,  of  the  Royal  Society  of 
Painter-Etchers  it  was,  that  in  1894  the  honor  of  knighthood  was 
conferred  upon  him  by  Queen  Victoria. 

He  has  etched  over  two  hundred  plates,  and  his  etchings  of 
landscapes  rank  as  being  the  finest  of  this  (or  perhaps  any)  century. 

SIR  WILLIAM  RICHARD  DRAKE,  F.  S.  A.,  "  A  DESCRIPTIVE  CATA- 
LOGUE OF  THE  ETCHED  WORK  OF  FRANCIS  SEYMOUR  HADEN." 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  VIII., 
PP-  I3-56- 

P.  G.  HAMERTON,  41  ETCHING  AND  ETCHERS,"  pp.  294-315. 

P.   G.  HAMERTON,  "MR.  SEYMOUR  HADEN'S  ETCHINGS."  Scrib- 
ner's  Monthly  Magazine,  August,  1880. 

FREDERICK  KEPPEL,  "THE  MODERN  DISCIPLES  OF  REMBRANDT." 

FREDERICK  WEDMORE,  "FOUR  MASTERS  OF  ETCHING,"  pp.  1-11. 

FREDERICK  WEDMORE,  "ETCHING  IN  ENGLAND,"  pp.  45-61. 


Drake,  No.  14. 

Third  state.  Published  in  "  Etudes  a  l'eau  forte."  (No.  XII.) 
The  plate  is  destroyed. 


Drake,  No.  15. 

First  state.  Published  in  the  "  Gazette  des  Beaux  Arts,"  first 
series,  Vol.  XVII.,  1864,  p.  358. 


Egham  Lock. 


129 


The  plate  has  been  mezzotinted,  and  a  few  impressions  have 
been  taken  from  it. 

The  artist  writes  of  these  two  plates  that  they  were  done  on 
the  same  day  and  from  the  same  spot — one  looking  up  and  the 
other  down  the  river. 

Fulham. 

Drake,  No.  18. 

Second  state.  Published  in  the  later  numbers  of  "  Etudes  a 
l'eau  forte,"  in  substitution  for  the  first  state. 

Whistlers  House,  Old  Chelsea. 

Drake,  No.  47. 

Only  state.  Published  in  "  Etudes  a  l'eau  forte."  (No.  VIII.) 
The  plate  is  destroyed. 

The  tide  is  out,  and  the  mud  (in  which  are  embedded  a  num- 
ber of  broken  boats,  lighters  and  coal  barges)  is  exposed.  On  the 
left,  Lindsay  Row  ;  and  beyond  and  to  the  right,  Old  Chelsea 
Church  and  Battersea  Bridge.  A  stellated  mark,  like  a  small  sun, 
distinguishes  the  chimneys  of  Whistler's  House. 

"Great  care  was  taken  in  the  drawing  of  this  plate,  especially 
in  the  foreshortening  of  the  barges,  which  gave  me  infinite  trouble 
I  remember.  It  wore  out  very  soon  and  had  to  be  destroyed  before 
it  had  given  its  full  quota  of  impressions."  (Manuscript  note  by 
Seymour  Haden,  in  a  copy  of  the  catalogue  of  his  etchings  by  Sir 
William  Drake.) 

"  There  is  magnificent  power  of  drawing  in  this  etching,  and 
brilliant  arrangement  of  lights  and  darks.  The  foreshortening  of 
the  bows  of  the  barges,  as  seen  from  the  sterns,  is  as  good  a  piece 
of  work  as  one  might  hope  to  find  in  the  Royal  Academy,  and  there 
is  not  a  marine  painter  living  who  would  have  drawn  these  barges 
better.  Their  immense  force  as  darks  gives  great  delicacy  to  the 
bridge,  and  the  light  foliage  beyond  it ;  and  their  cumbrous  weight 
as  a  united  mass  adds  greatly  to  the  thread-like  tenuity  of  the  rig- 
ging in  the  distance."  (P.  G.  Hamerton,  "  Etching  and  Etchers," 
p.  302.) 

A  Brig  at  Anchor. 

Drake,  No.  130. 
Only  state. 

Published  in  the  "  Portfolio,"  1876,  p.  116. 


13° 

HARDY,  HEYWOOD.    [English  School.] 

Born  in  England.  A  contemporary  painter  and  etcher.  He 
has  exhibited  at  the  Royal  Academy  and  at  the  Grosvenor  Gallery. 

Head  of  a  Horse. 

From  his  own  design. 

JACQUE,  CHARLES.    [French  School.] 

"  Charles  Jacque  was  born  in  Paris  in  1813.  At  the  age  of 
seventeen  he  was  placed  with  a  geographical  engraver,  but  did  not 
like  the  work,  and  enlisted  as  a  soldier.  His  military  career  lasted 
seven  years,  during  which  he  was  present  at  the  siege  of  Antwerp. 
After  his  return  to  the  life  of  a  civilian,  Jacque  spent  two  years  in 
England  where  he  worked  as  a  draughtsman  on  wood  ;  and  these 
seem  to  have  been  his  only  absences  from  France.  He  had  rela- 
tions in  Burgundy,  and  during  his  visits  to  these  relations  he  found 
the  material  for  many  of  his  best  etchings.  Burgundy  is  a  very 
good  country  for  an  etcher  ;  the  rustic  life  is  more  than  usually 
picturesque,  and  there  are  plenty  of  old  buildings  and  bits  of  good 
landscape.  The  true  French  picturesque  is  seldom  seen  in  greater 
perfection  than  in  Burgundy  ;  it  exists  there  in  the  most  profuse 
abundance,  but  in  odd  places  where  no  one  but  an  artist  would 
know  how  to  discover  it.  Jacque  had  the  right  instinct  for  material 
of  this  kind,  and  made  good  use  of  it,  as  many  an  etching  of  his 
still  testifies. 

Of  his  quality  as  an  etcher  it  is  not  easy  to  speak  briefly.  Some 
of  his  works  are  manly,  others  effeminate  ;  some  are  imitative, 
others  in  a  high  degree  interpretative  ;  some  are  rapid  and  in- 
tuitive, others  slow  and  painfully  laborious.  The  total  result  is 
that  he  will  certainly  be  remembered  as  one  of  the  master  etchers 
of  our  time.  He  has  etched  more  than  four  hundred  plates,  and 
out  of  these  hundreds  a  selection  might  be  made  which,  in  its  way, 
would  bear  a  comparison  with  much  of  the  most  famous  work  of 
past  centuries."  (P.  G.  Hamerton,  "  Etching  and  Etchers,"  pp. 
189-194.) 

HENRI  BERALDI,  "LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  VIII., 
pp.  163-192. 

J.  J.  GUIFFREY,  "L'CEUVRE  DE  CHARLES  JACQUE,  CATALOGUE  DE 
SES  EAUX-FORTES  ET  POINTES  SECHES." 

P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS,"  pp.  189-194. 


i3i 

A  Naked  IVoman  by  a  Stream. 

Guiffrey,  No.  140. 

A  Marsh. 

Guiffrey,  No.  173. 

Second  state,  with  the  added  work  in  the  sky  and  roulette 
work  in  the  foreground. 

Etched  in  December,  1864. 

Landscape,  JVith  a  IVagon. 

Guiffrey,  No.  246. 

Dry  point,  made  in  1843. 

The  Little  Shepherdess. 

Etched  from  his  painting  of  the  same  subject. 


JACQUEMART,  JULES.    [French  School.] 
Born  in  1837. 

The  son  of  Albert  Jacquemart  (a  connoisseur  in  art  and  the 
author,  amongst  other  books,  of  a  "  History  of  Porcelain,"  "  His- 
tory of  Furniture,"  and  "  History  of  Ceramics  ")  it  seems  fitting 
that  Jules  Jacquemart  should  have  been  the  great  etcher  of  ob- 
jects of  vertu. 

In  1859  his  first  plates  were  published  in  the  "  Gazette  des 
Beaux  Arts,"  and  in  1862  the  twenty-six  plates  illustrating  his 
father's  work,  the  "  History  of  Porcelain  "  appeared,  at  once  estab- 
lishing his  reputation  as  one  of  the  most  wonderful  etchers  of  his 
time,  or  indeed  of  any  time  in  the  history  of  art. 

Mr.  Hamerton,  writing  in  1875,  says:  "When  Jacquemart 
illustrated  porcelain  for  a  work  of  his  father,  1  Histoire  de  la 
Porcelaine,'  he  began  to  be  inimitable  ;  and  when  he  was  com- 
missioned by  M.  Barbier  de  Jouy  to  illustrate  the  jewels  of  the 
Louvre  ('  Les  Gemmes  et  Joyaux  de  la  Couronne,'a  masterpiece  in 
sixty  plates,  etched  in  1864)  he  stood  at  last  on  his  own  ground, 
master  of  his  subject,  master  of  his  means,  safe  from  all  human 
rivalry,  a  prince  in  a  little  fairy  princedom  of  his  own,  full  of 


132 


enchanted  treasures,  full  of  gold  and  opal  and  pearls,  of  porphyry 
and  sardonyx  and  agate,  of  jasper  and  lapis  lazuli,  all  in  the 
deepest  and  truest  sense  his  own  ;  for  what  rich  man  ever  so  truly 
possessed  these  things  ?  " 

In  1869  he  received  the  cross  of  the  Legion  of  Honor,  and  in 
1873,  owing  to  a  serious  illness,  a  fever  of  the  typhoid  kind,  caught 
in  Vienna,  where  he  was  one  of  the  jury  of  the  International  Exhi- 
bition, his  career  as  an  etcher  practically  terminated. 

He  died  at  Paris  in  1880. 

His  etchings  number  almost  four  hundred.  All  show  his  won- 
derful lightness  and  certainty  of  hand  in  recording  that  which  he 
saw.  Trial  proofs  or  impressions  from  unfinished  plates  are  of 
the  greatest  rarity. 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  pp.  192-213. 

LOUIS  GONSE,  44  L'CEUVRE  DE  JULES  JACQUEMART." 

P.  G.  HAMERTON,  "  ETCHING  AND  ETCHERS,"  pp.  183-188,  382-387. 

FREDERICK  WEDMORE,  "FOUR  MASTERS  OF  ETCHING,"  pp.  12-27. 

"  Le  So Ida t  et  la  Fillette  qui  rit." 

Gonse,  No.  268. 

Etched  from  the  painting  by  Van  der  Meer,  of  Delft,  in  the 
collection  of  M.  Leopold  Double.  Published  in  the  "Gazette  des 
Beaux  Arts,"  November,  1866. 

"  This  picture,  one  of  the  best  of  this  master,  has  furnished  to 
Jules  Jacquemart  the  subject  of  one  of  his  most  astounding  etch- 
ings. The  Cavalier,  seen  from  behind  and  in  shadow,  and  the 
young  girl  in  full  light,  with  her  white  fichu,  form  the  most 
beautiful  arrangement  in  black  and  white  that  I  have  seen." 
(Louis  Gonse,  "  L'CEuvre  de  Jules  Jacquemart,"  p.  56.) 

"Once  or  twice  he  was  very  strong  in  the  reproduction  of  the 
Dutch  portrait  painters  ;  but  as  far  as  Dutch  painting  is  concerned, 
he  is  strongest  of  all  when  he  interprets,  as  in  one  now  celebrated 
etching,  Jan  van  der  Meer,  of  Delft.  Der  Soldat  und  das  lachende 
Mddchen  was  one  of  the  most  noteworthy  pieces  in  the  rich 
cabinet  of  M.  Leopold  Double.  The  big  and  somewhat  blustering 
trooper,  common  in  Dutch  art,  sits  here  engaging  the  attention  of 
that  pointed-faced,  subtle,  but  vivacious  maiden  peculiar  to  Van 
der  Meer.  Behind  the  two,  who  are  occupied  in  contented  gazing 
and  contented  talk,  is  the  bare  sunlit  wall,  spread  only  with  its 
map  or  chart — the  Dutchman  made  his  wall  as  instructive  as 


133 


Joseph  Surface  made  his  screen — and  by  the  side  of  the  couple, 
throwing  its  brilliant  yet  modulated  light  on  the  woman's  face  and 
on  the  background,  is  the  intricately  patterned  window,  the  airy 
lattice.  Rarely  was  a  master's  subject  or  a  master's  method  better 
interpreted  than  in  this  print."  (Frederick  Wedmore,  "  Four 
Masters  of  Etching,"  p.  24.) 

JONGKIND,  JOHANN  BARTHOLD.    [Dutch  School.] 

Born  at  Latrop,  in  Holland,  in  1819. 
A  pupil  of  Isabey. 

"Jongkind  is  invaluable  to  the  student  of  etching  as  an  exam- 
ple of  simple  line-work  pushed  to  its  utmost  extreme.  He  gives  as 
few  lines  as  possible,  never  dissimulating  them,  and  never  attempt- 
ing any  shade  or  gradation  that  would  require  much  craft  of 
biting.  Such  biting  as  he  does  give  is  quite  simple  and  decided, 
about  three  bitings  to  each  plate — a  good  vigorous  black  (no  mis- 
take about  that),  a  middle  tint,  and  a  pale  tint  for  distance. 

'  Could  not  any  child  of  ten  years  old  do  as  well  ?'  The  true 
answer  to  this  question  (it  is  not  an  imaginary  question)  is,  that, 
rude  as  this  sketching  looks,  and  imperfect  in  many  respects  as  it 
really  is,  the  qualities  which  belong  to  it  are  never  attained  in  art 
without  the  combination  of  talent  approaching  to  genius,  and 
study  of  a  very  observant  and  earnest  kind,  quite  beyond  any  pos- 
sible experience  of  infancy.  .  .  .  There  is  something  approach- 
ing to  sublimity  in  the  courage  which  was  needed  to  send  plates 
of  this  description  to  the  printer."  (P.  G.  Hamerton,  "  Etching 
and  Etchers,"  pp.  128-132.) 

P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS,"  pp.  128-132. 

Entrance  to  the  Port  of  Honfleur. 

Beraldi,  No.  12. 
Dated  1863. 

"As  there  are  no  clouds  in  the  sky,  the  artist  has  wisely  left  it 
perfectly  blank.  The  water  is  expressed  by  a  few  widely  separated 
wave-marks.  The  steamer  close  to  the  pier  (apparently  a  mere 
confusion  of  blotted  black  lines)  is  a  very  clever  representation  of 
the  effect  of  a  steamer  upon  the  eye  at  that  distance.  All  these 
details  are  remarkable  for  great  liveliness  and  motion,  and  as  in  all 
Jongkind's  etchings,  when  anything  is  moving  at  all,  we  are  made 
to  see  and  feel  that  it  is  moving."  (P.  G.  Hamerton,  "  Etching 
and  Etchers,"  p.  131.) 


134 


LALANNE,  MAXIME.    [French  School.] 
Born  at  Bordeaux  in  1827. 

Pupil  of  Gigoux.  One  of  the  founders  of  the  Societe  des 
Aqua-Fortistes. 

In  1866  he  published  a  treatise  on  etching,  which  still  main- 
tains its  place  as  a  standard  text-book  for  the  etcher. 

It  was  translated  into  English  in  1880  by  Mr.  S.  R.  Koehler,  of 
the  Boston  Museum  of  Fine  Arts. 

At  the  Salon  of  1866  Lalanne  was  awarded  a  medal  for  the 
two  etchings  he  exhibited.  In  1874  he  received  a  medal  of  the 
third  class  for  his  etchings,  and  in  the  following  year  was  made  a 
Chevalier  of  the  Legion  of  Honor. 

From  the  King  of  Portugal,  himself  an  etcher  of  ability, 
Lalanne  received  the  Order  of  Christ,  he  being  the  first  etcher  so 
honored. 

He  died  in  1886. 

Four  exhibitions  have  been  made  of  the  collected  work  of 
Maxime  Lalanne.  The  first  was  held  in  Paris  in  1874.  The 
second,  in  the  same  year,  at  Bordeaux  ;  the  third  at  Marseilles,  in 
1875,  and  the  fourth  at  New  York,  in  the  gallery  of  Messrs.  Fred- 
erick Keppel  &  Co.,  in  1890. 

"  No  one  ever  etched  so  gracefully  as  Maxime  Lalanne.  This 
merit  of  gracefulness  is  what  chiefly  distinguishes  him  ;  there  have 
been  etchers  of  greater  power,  of  more  striking  originality,  but 
there  has  never  been  an  etcher  equal  to  him  in  a  certain  delicate 
elegance,  from  the  earliest  times  till  now. 

He  is  also  essentially  a  true  etcher  ;  he  knows  the  use  of  the 
free  line,  and  boldly  employs  it  on  due  occasion."  (P.  G.  Hamer- 
ton,  "Etching  and  Etchers,"  p.  177.) 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  IX.,  pp. 
17-23. 

P.  G.  HAMERTON,  "  ETCHING  AND  ETCHERS,"  pp.  177-182. 

Le  Haag,  Amsterdam. 
Plage  des  Vaches  Noires  a  Villers. 
An  Old  Normandy  Port  at  Low  Tide. 


i35 


LAW,  DAVID.    [English  School.] 
Born  at  Edinburgh,  April  25,  1831 

As  a  young  man  David  Law  served  an  apprenticeship  to  an 
engraver  of  landscape  and  general  subjects  in  Edinburgh  and 
studied  drawing  at  the  school  of  art  there. 

When  twenty  years  of  age,  his  term  of  apprenticeship  having 
expired,  he  went  to  Southampton,  to  take  a  position  in  the  Ord- 
nance Survey  as  a  map  engraver.  Here  he  remained  for  over 
twenty  years,  until  he  retired  from  the  Government  employ  in 
order  to  devote  himself  entirely  to  art. 

He  is  a  member  of  the  Royal  Scottish  Society  of  Water  Color 
Painters,  of  the  Royal  Society  of  British  Artists  and  of  the  Royal 
Society  of  Painter-Etchers. 

*  The  majority  of  his  plates  are  from  his  own  designs,  but  he 
has  translated  the  paintings  of  J.  McWhirter  and  others  in  a  very 
fine  manner. 

'*  In  Mr.  Law's  etched  work  we  follow  the  water  color  painter 
always.  I  never  met  with  any  interpretative  etching  more  gener- 
ally successful  than  this.  Mr.  Law  has  overcome  the  great  sky 
difficulty,  for  his  etched  clouds  have  really  the  soft  quality  of 
clouds  ;  and  their  forms,  without  being  painfully  accurate,  are  full 
of  care  for  truth."    (P.  G.  Hamerton.) 

Pangbonrne  IV eir. 
Abingdon. 

LE  RAT,  PAUL.    [French  School.] 

Born  in  Paris,  September  10,  1849. 
A  pupil  of  Gaucherel. 

HENRI  BERALDI,  44  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  IX.,  pp. 
148-150. 

Les  Joueurs  de  Cartes. 

Beraldi,  No.  7. 

After  the  painting  by  Meissonnier. 


136 


MARVY,  LOUIS.    [French  School.] 

Born  at  Jouy  in  1815. 
Pupil  of  Jules  Dupre. 

Marvy  is  chiefly  known  through  his  "soft-ground  "  etchings  of 
landscape  subjects.  Many  of  his  plates  appeared  in  Ly  Artiste  and 
were  the  means  of  familiarizing  the  public  with  the  works  of  Th. 
Rousseau,  Diaz,  Decamps  and  Jules  Dupre. 

He  died  in  1850. 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  IX.,  pp. 
234-238. 

Sunshine  After  Rain. 

From  the  painting  by  Th.  Rousseau.  4 

MENPES,  MORTIMER  L.    [English  School.] 

A  contemporary  etcher  ;  born  in  Australia,  resident  in  London. 

"  He  has  economy  of  means,  and  yet  abundance  of  resource. 
He  is  not  merely  a  draughtsman  who  has  chosen  to  etch  ;  he  is  an 
etcher  whose  feeling  for  the  capacity  of  his  particular  medium  has 
in  it  much  that  is  instructive."  (Frederick  Wedmore,  "  Etching  in 
England,"  pp.  146-147.) 

FREDERICK  WEDMORE,  "ETCHING  IN  ENGLAND,"  pp.  144-147. 

The  Docks. 
La  Mere  Gireaud. 
Study  of  a   Young  Woman. 

MERYON,  CHARLES.    [French  School.] 

Born  in  Paris,  November  21,  1821.  The  son  of  Charles  Lewis 
Meryon,  an  English  doctor,  and  Narcisse  Chaspoux,  a  danseuse  at 
the  Opera.  He  was  educated  at  Passy  and,  after  a  voyage  to  Mar- 
seilles and  to  Nice,  entered  the  Naval  School  at  Brest  in  1837. 
Two  years  later  he  sailed  upon  the  "Alger"  and  the  "  Montebello," 
and  while  at  Toulon  took,  from  the  painter  Courdouan,  lessons  in 
drawing  and  water  color  painting.    The  years  from  1842  to  1846 


i37 


were  spent  in  a  voyage  of  circumnavigation,  and  at  this  time  he 
made  the  drawings  for  the  New  Zealand  plates,  which,  later,  he 
etched  in  Paris. 

Upon  his  return  to  Paris  he  resigned  his  commission  as 
lieutenant  in  the  navy  and  entered  the  atelier  of  M.  Blery,  remain- 
ing there  about  six  months. 

In  1850  (having  by  this  time  thoroughly  learned  the  technical 
side  of  his  art)  he  took  chambers  in  the  Rue  St.  Etienne  du  Mont, 
and  during  the  next  four  years  produced  the  great  work  of  his 
life — the  set  of  plates  known  as  "  Eaux  Fortes  Sur  Paris." 

Though  the  quality  of  his  work  was  appreciated,  at  the  time 
of  its  production,  by  a  few  connoisseurs — Theophile  Gautier,  Paul 
Mantz,  Philippe  Burty,  M.  Niel,  Seymour  Haden  and  Victor  Hugo 
amongst  others — his  plates  were  refused  admission  to  the  Salon, 
while  the  general  public  and  the  publishers  would  have  none  of 
them.  Driven  mad  by  want,  neglect  and  disappointment,  he  died 
at  Charenton,  where  he  lies  buried,  on  the  14th  of  February, 
1868. 

"  The  case  of  Charles  Meryon  is  one  of  those  painful  ones 
which  recur  in  every  generation,  to  prove  the  fallibility  of  the 
popular  judgment.  M6ryon  was  one  of  the  greatest  and  most 
original  artists  who  have  appeared  in  Europe.  He  is  one  of  the 
immortals.  His  name  will  be  inscribed  on  the  noble  roll  where 
Diirer  and  Rembrandt  live  forever.  .  .  .  Meryon  was  sorely 
tried  by  public  and  national  indifference,  and  in  a  moment  of  bitter 
discouragement  he  destroyed  the  most  magnificent  series  of  his 
plates. 

When  we  think  of  the  scores  of  mediocre  engravers  of  all 
kinds,  who,  without  one  ray  of  imagination,  live  decently  and  con- 
tentedly by  their  trade,  and  then  of  this  rare  and  sublime  genius 
actually  plowing  deep  burin  lines  across  his  inspired  work,  because 
no  man  regarded  it  ;  and  when  we  remember  that  this  took  place 
in  Paris,  in  our  own  enlightened  nineteenth  century,  it  makes  us 
doubt  whether,  after  all,  we  are  much  better  than  savages  or  bar- 
barians." (Philip  Gilbert  Hamerton,  "  Etching  and  Etchers,"  pp. 
167-169.) 

"  The  art  of  Meryon  stands  alone.  Like  the  work  of  every 
true  genius,  it  resembles  in  no  one  feature  the  work  of  any  one 
else.  His  method  was  this — First,  he  made  not  a  sketch  but  a 
number  of  sketches,  two  or  three  inches  square,  of  parts  of  his 
picture,  which  he  put  together  and  arranged  into  a  harmonious 
whole.  What  is  singular,  and  a  proof  of  his  concentrativeness,  is 
that  the  result  has  none  of  the  artificial  character  usual  to  this 


i38 


kind  of  treatment,  but  that  it  is  always  broad  and  simple,  and  that 
the  poetical  motive  is  never  lost  sight  of."    (Seymour  Haden.) 

"  These  etchings  are  magnificent  things.  We  must  not  allow 
this  splendid  imagination  to  be  worsted  in  the  struggle.  Strengthen 
him  by  all  the  encouragements  possible."    (Victor  Hugo.) 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  X.,  pp. 
33-53- 

PHILIPPE  BURTY,  "A  MEMOIR  AND  COMPLETE  DESCRIPTIVE  CATA- 
LOGUE OF  THE  WORKS  OF  CHARLES  MERYON." 

P.  G.  HAMERTON,  "  ETCHING  AND  ETCHERS,"  pp.  167-176. 

FREDERICK  KEPPEL,  "  MERYON  AND  HIS  WORK." 

FREDERICK  WEDMORE,  "  MERYON  AND  MERYON'S  PARIS." 

Le  Pont  au  Change. 

Wedmore,  No.  18.  Burty,  No.  48. 

First  state  (of  four).  Third  state  (of  eight). 

"  This  etching  is  one  among  many  in  Meryon's  works  where 
the  air  is  as  full  of  vitality  as  the  earth,  and  where  both,  in  accord, 
combine  a  gracefulness  very  rarely  encountered  in  works  of  this 
class."    (Philippe  Burty,  page  66.) 

L  Abside  de  Notre  Dame  de  Paris. 

Wedmore,  No.  22.  Burty,  No.  52. 

Second  state  (of  five).  Second  state  (of  five). 

"  The  towers  of  the  Cathedral,  seen  from  the  foot  of  the  Pont 
de  la  Tournelle,  dominate  the  nave  and  its  buttresses.  To  the  left 
the  three  arches  of  the  Pont  aux  Choux  span  the  river,  and  beyond 
are  seen  the  ancient  buildings  of  the  Hotel  Dieu.  This  view  of 
Notre  Dame  is  strikingly  majestic.  The  Cathedral,  which  inspired 
a  poet  to  write  one  of  the  most  beautiful  works  of  our  generation, 
appears  to  have  exercised  a  great  influence  over  Meryon's  dreamy 
spirit,  and  to  it  we  owe  his  loveliest  plate.  It  is  also  the  one  which 
has  called  for  the  exercise  of  the  greatest  amount  of  knowledge  of 
drawing,  of  composition,  and  of  taste.  For  it  must  be  remembered 
that  photography  had  not  then  placed  in  the  hands  of  artists  re- 
ductions of  views,  whereby  they  could  obtain  either  tracings  or 
valuable  hints.  Note  well  how  Meryon  has  preserved  in  his  draw- 
ing of  this  Gothic  building  all  the  vastness  and  elegance  of  pro- 


139 


portion  which  are  the  characteristic  types  of  that  branch  of  French 
architecture.  Upon  a  few  of  the  early  proofs  of  this  plate  Meryon 
wrote  the  following  lines  : 

i  O  toi  degustateur  de  tout  morceau  gothique 
Vois  ici  de  Paris  la  noble  basilique 
Nos  Rois,  grands  et  devots,  ont  voulu  la  batir, 
Pour  temoigner  au  maitre  un  profond  repentir. 
Quoique  bien  grand,  helas  !  on  la  dit  trop  petite 
De  nos  moindres  pecheurs  pour  contenir  Telite.'  " 
(Philippe  Burty,  page  70.) 

MONTBARD,  GEORGE.    [French  School.] 

Born  at  Montbard  in  1841. 

His  real  name  is  Charles  Auguste  Loye. 

Caricaturist  and  etcher. 

His  first  drawings  appeared  in  La  Vie  Parisienne  and  Le  Journal 
Amusant  about  1866.  He  has  made  a  number  of  lithographed  por- 
traits for  various  journals,  and  has  himself  founded  several  jour- 
nals, all  of  which  have,  however,  lived  but  a  short  time. 

Since  1872  he  has  resided  chiefly  in  England  and  much  of  his 
etched  work  has  appeared  in  the  various  magazines  there. 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  X.,  pp. 
IIO— III. 

La  Lune  de  Miel. 

Beraldi,  No.  3. 

MONZIES,  LOUIS.    [French  School.] 

Born  at  Montauban  in  1849. 
A  pupil  of  Gaucherel. 

HENRI  BERALDI,  "  LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  X.,  pp. 
114-116. 

Marechal  Ditroc,  Due  de  Frioul. 

Beraldi,  No.  30. 

From  the  painting  "  1807,"  by  Meissonnier,  now  in  the  Metro- 
politan Museum,  New  York. 

This  plate  was  published  in  "  L'Art." 


A  Critic. 


140 

ROBINSON,  C.  F.    [English  School.] 

Sir  Charles  Robinson  is  keeper  of  the  Queen's  pictures  and 
was,  formerly,  buyer  for  the  South  Kensington  Museum. 

Sunset. 

From  his  own  design. 

VEYRASSAT,  JACQUES  JULES.    [French  School.] 
Born  in  Paris,  1828. 

Between  the  years  1847  and  1859  much  of  his  work  appeared 
in  L  Artiste.  Veyrassat  was,  with  Hedouin,  one  of  the  first  artists, 
in  France,  to  successfully  practice  reproductive  etching  for  publi- 
cation in  the  magazines. 

HENRI  BERALDI,  "LES  GRAVEURS  DU  XlXe.  SIECLE,"  Vol.  XII.,  pp. 
227-228. 

P.  G.  HAMERTON,  "ETCHING  AND  ETCHERS,"  pp.  213-214. 

"  With  reference  to  natural  truth  and  idyllic  charm,  few  artists 
of  the  modern  rustic  school  have  so  happily  expressed  themselves. 
All  Veyrassat's  groups  of  animals  and  peasants  in  the  fields  are 
full  of  nature,  and  of  art  also,  the  art  being  successfully  concealed, 
except  in  such  very  obvious  points  as  the  perpetual  contrast  of  a 
white  horse  with  a  dark  one."  (P.  G.  Hamerton,  "  Etching  and 
Etchers,"  p.  214.) 

In  the  Woods. 

Etched  from  his  own  design. 

Interior  of  a  Stable  at  Samois. 

Etched  from  his  own  painting. 


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